Photograph, the bimonthly guide to gallery and museum exhibitions of photography, has 112 listings for New York City in its May/June issue. The Manhattan listings are grouped geographically — Downtown (17), Chelsea (50), Midtown & Uptown (32) — and the outer boroughs are grouped together. The latter section has 13 listings for this period, more than 10% of the whole, with 11 in Brooklyn and one each in Bronx and Queens. Of the Brooklyn listings, seven are located in 111 Front St., a building in DUMBO. That means that 111 Front St. is to all of the outer boroughs what Chelsea is to Manhattan. I went to take a look.

There is a hierarchy of galleries, with more prestigious ones representing better-known photographers, those whose works are likely to command higher prices. But galleries can also be categorized according to the artistic preferences of their directors, and according to their abilities to identify talent. Like its counterparts in Chelsea, 111 Front St. was an industrial building until it was renovated for commercial use four years ago. That means that with few exceptions, all the galleries are new and in the process of establishing identities; also, most of their artists are at the beginnings or midpoints of their careers. A conspicuous exception was “Out of the Corner of My Eye,” a show of work by Sylvia Plachy at Umbrage in Suite 208.

“Out of the Corner of My Eye” includes 25 mostly black-and-white pictures drawn from the book with the same title. Umbrage has only been at 111 for three months, but it spent several years on Canal Street before moving to Brooklyn. The show is a retrospective that includes “Kitchen Sink, Budapest” from 1964, a stark, Modernist image with a decidedly dead chicken’s two feet sticking up above the rim of the sink, and many of the quirky pictures from the Village Voice that established Ms. Plachy’s reputation over the last several decades. The pleasure here is in seeing some unfamiliar works in the context of old favorites.

Andrew Miksys moved to Vilnius, Lithuania, after getting an MFA from Louisiana State University in 1998. Sustained by two Fulbright Fellowships and a Guggenheim, he has stayed there photographing the Lithuanian Roma (Gypsy) community. This body of work has now been published in a book and is on exhibition at the Nelson Hancock Gallery, Suite 204. “BAXT,” a Romani word for fate, destiny, and fortune, is the title of both the book and the show; the men and women in these untitled color photographs confront the camera and their fates with stoic determination. The formal compositions in settings of tacky elegance dramatize the plight of the Roma, destined everywhere to be outsiders.

The Hancock Gallery has been at 111 for three years, making it a relative old-timer; the Klomp-ching Gallery, Suite 206, has only been open for six months. Its present exhibition is “William Greiner: Fallen Paradise,” color photographs of Louisiana where Mr. Greiner was born and still lives. “London Lodge, Metairie” (2005) is a picture of a closed gas station and a dilapidated motel; the bottom half of the frame is taken up with cracked asphalt and a stagnant puddle. Mr. Greiner seems to have absorbed influences of Stephen Shore and William Eggleston, and found a style based on abstracted architectural components and oddments of color.

The Henry Gregg Gallery, Suite 226, has up “Brooklyn Back in the Day,” an anthology show curated by Joshua Wolfe, a young photojournalist. Six photographers are represented by 51 pictures taken over the last four decades. Charles Denson has up 11 photos of Coney Island taken between 1969 and 1974. The titles catch the flavor: “Tornado Roller Coaster,” “Boardwalk Fortune Tellers,” “Sodamat,” and “Parachute Jump Ruins.” Tony Velez has six of the Latino community from the 1980s, including “Mexican Festival of the Virgin of Guadalupe, Williamsburg, Brooklyn, NY.” “Promenade & Snow Scene” (1991) is a large-format, poetic work by Tom Callan.

After two years in a warehouse in Williamsburg, the Safe-T-Gallery moved to 111 three years ago. When I visited, it also had up a show of local interest, “Larry Racioppo: Brooklyn Interiors.” Looking at these large-format color shots mostly of disintegrating interiors, I was reminded that church ruins were a popular subject of 19th-century photography. “Proscenium, Loew’s Kings Theatre, Flatbush Ave.” (1990) and “Proscenium and Ceiling, Loew’s Pitkin Theater, Pitkin Ave.” (2002) have about them the aura of fallen cathedrals. Two pictures of the inside of the Domino Sugar Factory on Kent Avenue are reminders of a blue-collar Brooklyn that has largely disappeared.

“Czanara: The Art & Photographs of Raymond Carrance,” at Wessel + O’Connor Fine Art, Suite 200, displays the “homoerotic dreamscapes” of a French photographer and illustrator. Carrance (1921-98) sandwiched overlays of abstract graphics with “dreamy images of languid young men at play” to achieve an artful effect. Gloria Kennedy, Suite 222, a four-year veteran at 111, is showing large-format black-and-white work by Alexandra Solmssen. This is Kennedy’s second show of Ms. Solmssen’s photographs, which are soft-focus nudes as well as larger than life-size images of magnolias and moonflowers. Several of the pictures, such as “Beatrice (looking up)” and “Beatrice (looking down)” (both 2001), are toned and painted, which highlights their relationship with Pictorialist conventions.

The photographs on display in the galleries at 111 Front St. represent a hodgepodge of sensibilities and levels of talent, just what you want in a frontier art scene.

wmmeyers@nysun.com

All galleries are at 111 Front St., Brooklyn, between the Manhattan and Brooklyn bridges.

“Brooklyn Back in the Day” at the Henry Gregg Gallery until June 15 (Suite 226, 718-408-1090).

“Andrew Miksys: BAXT” at the Nelson Hancock Gallery until June 28 (Suite 204, 718-408-1190).

“Alexandra Solmssen” at Gloria Kennedy until May 31 (Suite 222, 718-858-5254).

“William Greiner: Fallen Paradise” at the Klompching Gallery until June 27 (Suite 206, 212-796-2070).

“Anders Goldfarb: Constants and Variables” at the Safe-T-Gallery until June 15 (Suite 214, 718-782-5920).

“Sylvia Plachy: Out of the Corner of My Eye” at Umbrage until June 28 (Suite 208, 212-796-2707).

“Czanara: The Art & Photographs of Raymond Carrance” at Wessel + O’Connor Fine Art until June 14 (Suite 200, 718-596-1700).