For the Copenhagen Photo Festival, the centre is over on Reshaleøen at the north end of the harbour - out beyond Christianshavn and Holmen - on the site of former shipyards.
Many of the workshops, office buildings and dry docks of the yards survive in various states but the area has seen a rapid transformation over the last couple of years with new restaurants, the food market of Reffen - now here for its second summer - a bakery and flea market along with a major new gallery of modern art - Copenhagen Contemporary - now also in it's second season.
The photo festival is spread over three main venues and each with a very different character as exhibition space.
At the north end is a group of stacked shipping containers with open ends where the works of Franziska Gill and Marco Marzocchi are shown and outside, on scrub land with the footings of demolished buildings, are the photographs of White Rage by Espen Rasmussen and the large images for Living Room by Jana Sophia Nolle.
All these works are essentially photo journalism and all gain from the temporary and therefore immediate feel of the spaces where a more traditional and polite modern gallery could make the images appear detached from the subjects. In particular, the images of White Rage seem even more of a challenge when seen outside against trees and rough grass as if they are in a post-conflict site of destruction.
To the south, close to the food market, the Machine Workshop is a huge space that provides the venue for Censored - the main open show for fine art photography - the exhibition Hail by Garrett O Hansen; a video installation - KOMA RETREAT - by Mathias Løvgreen and the installation Behind the Year by the independent publisher Blankt Papir Press.
The space above Copenhagen Contemporary with photographs by Mary Frey could not be more of a contrast. It's a vast and light space with an amazing roof and all recently restored. These enormous halls will be used by Copenhagen Contemporary for work with schools and for additional exhibitions beyond or rather above the space of the vast galleries below. For the Photo Festival access was by a relatively narrow metal staircase with a straight single flight that seemed to go on and on climbing for ever - almost surreal.