Wednesday, December 23, 2009
I've also been telling myself that I'll make up at godawful hours of the morning in order to catch the delicious morning light. I still need a bit of convincing. Another thing I've been telling myself is that I'll finally record a proper interview with Chuck. I figure that if the average temperature is 65 degrees during the day, he won't have a million fans running, thus drowning out any sort of intelligible conversation. At least that's what I'm banking on. Also, being that I don't need to worry about any kind of baggage restrictions, I can bring as much recording equipment as I damn well please.
One question I've been asking myself is what I should do about Chuck. It's getting to the point where he almost requires a separate essay. Bottom line: Chuck's story needs to be told somehow, because his story is as tragic as it is universal to New Orleanians. Local man loses everything following hurricane. It's a story that's almost on the verge of being played out, but Chuck is so personable that it absolutely slays you. Figuratively, of course. So is this to become a section in the book or another book entirely? I suppose I'm looking for advice on that.
Another thing I need advice on is showing this work. Do I have enough street cred to show on my own or even with another person? Should I trust my work to convince others that I'm worthy of a gallery show? As you can tell, the gallery world seems like it has a steep learning curve to me.
Currently in heavy rotation:
The Strokes - Take It Or Leave It
The Crystal Method - High Roller
Why? - Eskimo Snow
Sunday, August 23, 2009
Chuck explained to me that he had been living in his trailer with his three-legged dog, Spunk, for going on two years. He’s a marble worker and tiler by trade, offering his services to his neighbors that are getting back on their feet and rebuilding their houses. He has even made a poker table for the governor of
This essay documents the remaining FEMA trailers and the people that live in them. Since this essay’s infancy, it was always meant to be a sensitive retelling of the state of New Orleans and the under-represented population that occupies FEMA trailers. I never intended for this essay to be a documentation of tragedy, or for my travels to be considered disaster tourism, a practice that I consider ethically ambiguous. Not all stories are happy, but, by the same measure, not all stories are sad. This series of photographs conveys, as truthfully as I can, the stories of the people documented in this visual essay.
This project began, in earnest, in September 2008 when I traveled to
After having followed the story for years, I was convinced that I knew all that I needed to make a successful photo essay. I quickly found out that my perceptions of the situation at hand were largely incorrect. Talking to residents of
I returned to
In the same way that the project underwent a creative genesis, this book has evolved significantly from its original published form. As I reflect on it now, the original book was hastily made, so in assembling this second, revised version, the standards I set for myself were much more stringent. Now that I have the experience of presenting this work in the form of a book once, presenting old and new material in the same way is a different experience. Just as my photographic process has changed, the process of presenting this work has also changed. This new book is the logical progression from the original offering.
The number of trailers in
This project will continue to evolve until there are no longer any FEMA trailers in
To this day, Chuck is still slowly rebuilding the house that his father built. He is like so many others in
Friday, August 21, 2009
This essay documents the remaining FEMA trailers and the people that live in them. Since this essay’s infancy, it was never intended to be a documentation of tragedy, or for my travels to be considered disaster tourism, a practice that I consider ethically ambiguous at best. On the contrary, it is meant to be a sensitive retelling of the state of New Orleans and the under-represented population that occupies FEMA trailers. Not all stories are happy, but, by the same measure, not all stories are sad. This series of photographs conveys, as truthfully as I can, the stories of the people documented in this visual essay.
This project began, in earnest, in September 2008 when I traveled to New Orleans as part of a photo essay class. The interest in the story began long before that, however. The news networks ran stories about Hurricane Katrina, day and night, for weeks after the storm. I saw stories of volunteers helping to rescue people from their homes in between stories of people looking for their lost family members. I wanted so badly provide some relief for these people. I had grown up with the understanding that I need to think of others before thinking of myself. I was only seventeen at the time and had no way of getting to New Orleans. I would have to wait. When I started college, an opportunity to go to New Orleans finally came. Long after the networks had forgotten Hurricane Katrina, I had the same desire to provide relief to residents of New Orleans, though it would come in the form of a photographic essay organized into a book and gallery exhibition.
After having followed the story for years, I was convinced that I knew all that I needed to make a successful photo essay. I quickly found out that my perceptions of the situation at hand were largely incorrect. Talking to residents of New Orleans helped me understand the situation better than any news report ever could. There were more dynamics and facets to all of this than I could have ever realized. Political, social, and economic issues surrounded this hurricane and I realized very early on that this problem stretched far beyond the Bush administration and FEMA. As I learned more and more, I felt like I could empathize with these people instead of insulting them with how little I knew. In this way, the project experienced a sort of creative genesis.
I returned to New Orleans in June 2009 to continue what I had started months earlier. The time apart from the project wasn’t detrimental, however. In fact, it helped my project become more focused. During my time away, I grew more mature, more skilled, and more confident about my craft. Lessons learned on the last trip helped me be a more effective photographer by slowing down and being more deliberate, and I believe the new collection of work reflects that. Overall, I am more satisfied, both technically and conceptually, with this body of work than I ever was with the original.
In the same way that the project underwent a creative genesis, this book has evolved significantly from its original published version. As I reflect on it now, the original book was hastily made and it’s something that I regret. Now that I have the experience of presenting this work in the form of a book once, presenting old and new material in the form of a book is a different experience. Just as my photographic process has changed, the process of presenting this work has also changed. This new book is the logical progression from the original offering.
The number of trailers in New Orleans is quickly dwindling, due to new city ordinances and FEMA policies. Residents of New Orleans, whether they do not have the funds to rebuild, or are still waiting for government assistance to arrive, have a continued need for their FEMA trailers. After more than three years, their plight gets very little media attention aside from specials that run at the end of August and beginning of September for the anniversaries. Families that still live in FEMA trailers are under-represented in New Orleans society, and especially in a national context. Citizens outside of Louisiana are often ill-informed of the current situation. Two Years and Two Hundred Square Feet seeks to inform its audience that residents of New Orleans have a continued need for help and that, three years later, New Orleans is not back on its feet.
This project will continue to evolve until there are no longer and FEMA trailers in New Orleans. Until that happens, I do not consider this to be a comprehensive series documenting the final 2,650 trailers in New Orleans that existed on September 20th, 2008. As of March 29th, 2009, there are only 1,042 FEMA trailers residing in New Orleans. Due to new city ordinances and FEMA policies, trailers are disappearing at a staggering rate. Before long, no FEMA trailers will remain in New Orleans. This issue needs to be documented before the families the families in need that occupy these FEMA trailers are swept under the rug and forgotten.
To this day, Chuck is still slowly rebuilding the house that his father had built. He is like so many others in New Orleans, doing what they can to make ends meet while trying to get their former lives back. They would rather endure life in a FEMA trailer than leave the city they love so much. I hope that after viewing this body of work, you tell others of the state of New Orleans. Spreading the message will give people like Chuck a voice. Thank you very much and I hope you enjoy.
Sunday, July 19, 2009
It's no secret that the excess of the Bush administration is quickly coming to an end and it seems that the entertainment industry is just now realizing it. Bummer, dudes. To drive it home, one of the higher-ups at EMI, one of the four largest recording companies in the world, has recently admitted that the industry is now entirely out of touch reality. How did they find themselves on a ship with no captain? By wiping their asses with every new and innovative distribution method that have been brought forth, including websites like the Pirate Bay. Bummer again, dudes. So now that the industry has to learn how to live within their means and find a way to win over their already very alienated customers, they're liable to do anything they can to make it seem like they aren't greedy bastards. I sense a very elaborate "the music industry loves you" campaign in the very near future. After all, the whole "we're going to sue all of our customers" campaign did not go over so well.
And who would have thought there would be a backlash from that? With all that incredibly bad PR over suing people that didn't even own computers or grandmothers for online piracy, I'd have no idea that people would view the industry in poor taste. And I'm not trying to defend piracy. I'm not. But there are certain business practices that the industry ha taken on that I don't necessarily agree with. Picture this: you get a letter in the mail that says, "Pay us five grand or we'll unleash our incredibly well-paid and effective legal team upon you. Resistance is futile. Have a nice day." How is anybody supposed to compete with that? Even if you've done nothing wrong, you'll spend who knows how much money defending your innocence. Either way, money is going to leave your pocket, and when it does, it's going to go to the music industry. There's very little stopping them from just mailing letters out to everybody in America demanding money.
As a photographer, the proposition of sending e-mails and letters to people demanding money right off the bat is utterly preposterous and threatening to sue in the initial conversation is not a very diplomatic business practice. The extremely reactionary practices of the industry has left a bad taste in a lot of mouths. All it does is send a message that the music industry no longer cares about its customers. Not caring about your customers is not going to make your customers care about you. Not to mention the absolutely abysmal state of Top 40 radio which only leaves me thinking, "Wait, haven't I heard this before?" It is as forgettable as it is unimaginative. So what's the motivation to purchase it? There isn't any.
My suggestion: start making music worth buying or find a different way to survive. Good riddance.
Currently in heavy rotation:
Crystal Castles - Crimewave [Crystal Castles vs. HEALTH]
M83 - We Own The Sky
The AKAs - Every Great Western
Friday, July 10, 2009
Now it's time to get down to post-production and battling with InDesign to create this book of mine. One of the questions I've been asking myself is whether to update the original work (this would be my preference) or to let the new series stand on its own. Being that the series as a whole is called Two Years and Two Hundred Square Feet, it would be a little absurd, in my opinion, to have another book bearing the same name. The next question is whether to create a tighter edit of 30 photos or keep the original edit and tack on to it? I'll have to mull that last one over. Meanwhile, I'll be burning my retinas in front of a computer screen.
Currently in heavy rotation:
RJD2 - Ghostwriter
Death From Above 1979 - Luno
Spinnerette - Baptized by Fire
Sunday, June 28, 2009
Friday, June 26, 2009
Later on, I returned to St. Bernard to recreate some images from the last trip to record the progress that occurs over the span of 9 months. Overall, I think the trip was a success. The resulting images will be better, anyhow. I've become much more judicious in terms of which images are allowed to continue into the winner circle as it were. Images that aren't up to snuff, technically speaking, or can't be fixed using my Photoshop expertise are gotten rid of. This has forced me to become a more technical shooter, which isn't a bad thing.
These last two houses are located in St. Bernard, where I photographed them in September.
Thursday, June 25, 2009
This is a meter used to measure how much electricity a household is using. Following Hurricane Katrina, they were place on pieces of dimensional lumber and driven into the ground next to the trailers so that its occupants can have power. Lately, as trailer are taken away, outlets are being added to the pole to operate job site tools to refurbish houses.
These last two images are of Chuck Byrne and his house in Lakeview. I photographed him and his house last September.
These last two images are of Robert Green's trailers and his new house, which is being built with the generosity of the Make it Right Foundation. In return for 85% of your Road Home settlement, you can pick out a house. So, if your house cost $300,000 to build and your Road Home check is for $30,000, then you get a $300,000 worth of house for $25,500. Sweet deal, right? I'd say.
Wednesday, June 24, 2009
Another thing is that these peoples' lives don't stop and start at our discretion. I don't imagine they're thinking to themselves, "Those Minnesotans are coming, I better take the week off to better facilitate their shooting schedules." What would we be doing if we weren't on vacation? We'd either be at work, school, or home, taking advantage of what little time we already have with our families.
One thing I've really been struggling with most of all, though, is trying to figure out what my responsibility is to people that are taking this class for the first time. Do I fight tooth and nail to get to where I want, even though I have already recieved a grade for this class? Is it nescessarily ethical for me to edge out other people to get my shots? I woldn't feel right if somebody was short-changed because I absolutely had to take the group off the beaten path and use up all the good sunlight so that I could get a few more shots.
I'm now seriously considering shooting for my public telephones series while I'm down here, too, just so I can have a break from the trailers and all the absurdity surrounding them. At the end of the second day of shooting, I'm already feeling down about the project. This has the makings of a great week.
No pictures tonight. Maybe tomorrow?
Tuesday, June 23, 2009
Now, for some pictures:
This last trailer, I photographed approximately nine months ago. It's still in the same place, along with the tarp on the roof, torn to shreds. The trailers looks about the same, though. Just like all the other FEMA trailers, it constantly looks dirty, due to a poor paint job, I'm certain. If you look closely, the stains are more like rust or other oxidation than dirt.
Sunday, June 21, 2009
Currently in heavy rotation:
The Blend - Sunny Blue [Live, Acoustic]
Alice in Chains - The Killer is Me [Live, Acoustic]
Ben Harper - Like a King / I'll Rise [Live, Acoustic]
Saturday, June 20, 2009
The Blake Road Corridor series documents the economic divide that exists in the city of Hopkins, specifically along Blake Road, between Highway 7 and Excelsior Boulevard and south of Excelsior, also on Blake Road. The community assessment can be found here (PDF, 828 KB) and the plans for the future of Blake Road is detailed here (PDF, 5.94 MB). Those documents explain the area much better than I can in writing.
North Side:South Side:
Hopkins' Commercial Districts:
The Great Reclamation:Telephone:
Thursday, June 18, 2009
I have decided to continue my series on payphones and my investigation of Hopkins' commercial districts, while also beginning new projects documenting the ways that nature reclaims itself in urban environments and officially starting my project in the Blake Road Corridor. Overall, this process of experimentation has led me to projects that I would have likely never taken on, or I would have executed them in a different way. The thing I find most interesting is how each project has evolved so rapidly. Each progressive review has allowed each project to grow and experience its own genesis in a much shorter span of time than I could have expected.
01. Any project can be killed off at any time for any reason.
02. Any project that is killed off must be replaced with another project.
03. Projects can be added without killing off another project.
04. At any given time, I am not to pursue more than five projects.
As you can see, I haven't abandoned my penchant for rules, but I have become more relaxed about the ways in which the photographs are collected. My only concern is that many of the projects I have chosen to take on are more long term projects that I may not be able to complete within a reasonable amount of time. In time for, say, building a portfolio. Inevitably, I'll find a way to make it all come together.
Currently in heavy rotation:
Interpol - NYC
Matt & Kim - Daylight
TV on the Radio - Wash The Day
Saturday, June 13, 2009
Thursday, June 11, 2009
Before long, your images will also show up in search engines, and you'll be well on your way to taking over the world. Sounds pretty great, doesn't it? It is great, so long as you have a website that functions like a dream, which I sincerely hope I do. The mantra I've been going on is keep everything as simple as I can make it. Over-elegance causes causes confusion and frustration. We don't want that and neither do your users. If it can be said using a symbol, then why use words? That's why I have those obnoxiously large arrows flanking each side of the picture area. The arrow pointing left brings you to the previous image, while the arrow pointing to the right brings you to the next image. Could it be simpler? Perhaps, but not by much. The little button in the bottom left (don't look for it, you can't see it yet) that says "Artist Statement" will bring you to the artist statement. Who would have thought of such a thing? I don't see any need for crazy bells and whistles that only prove I can pay a web designer a lot of money.
HTML. It's a wonderful thing. It's been around since the dinosaurs and everything, including phones, can take advantage of it. Phones? Yes, phones. There are 275 million cellphone users in the United States, including 50 million that are internet capable. It's a growing market that, before long, will be as relevant as browsing the internet from a computer. The continuing problem with phones? They don't much like flash websites. Not to mention netbooks, which are also catching on and are increasingly internet cable everywhere in the US with the advent of USB dongles from major wireless telecoms. Do not get caught not catering to this market.
Currently in heavy rotation:
Refused - Tannhauser/Derive
Nirvana - Marigold
Tsunami Bomb - Jigsaw
Tuesday, June 9, 2009
Alternate text is worth its weight in gold. In building my website, I have inserted "Ryan McGoff Photography" somewhere into the alternate text of every single image on every single page. That way, on any given page, "Ryan McGoff Photography" is written into the code no less than 35 times. Why is this? Web crawlers are very dumb. They're computers, after all. They don't understand the difference between good photos and bad, but what they do understand very well is analyzing HTML code. That alternate text is written write into it. So, if the web crawlers stumble upon your website, they'll think, "Wow, it says Ryan McGoff Photography an awful lot. This should show up as the first result when somebody types in 'Ryan McGoff Photography.'" So, I've got a web page that looks like this:
How many times would you say it says "Ryan McGoff Photography" in the alternate text? If you answered "44 times", then you should probably get a prize of some sort. Here's how it tooks if you look at the HTML code alone. As you can see, it's riddled with "Ryan McGoff Photography."
Another way you can increase the ranking of your website is to connect it to other websites. If your friend posts a link to your website on their blog, that increases your ranking even if nobody visits your site. Hopefully you will get some visits from it, which will further increase your page ranking.
Also, if you have a blog of some sort, that's a great way to increase the size of your scope, which will, you guessed it, increase your ranking, especially if you post pictures from it, which can also harbor your metadata, including your name and your website. Some of the smarter browsers can take advantage of this, so don't discount it.
So, let's review:
- Alternate text is pretty sweet.
- Talk about your friends and have your friends talk about you.
- Have a professional blog.
Monday, June 8, 2009
Do you like:
- Difficulty breathing?
- Peristent headaches?
If you said yes to one or all of those, then I suggest you move on down to New Orleans and buy yourself a genuine FEMA trailer for the bargain price of five dollars...or less! That also happens to be the price of your neighbor's happiness. Imagine how happy your neighbors will be when they find out that trailer is not going to be leaving any time soon. If they didn't love that trailer of your before, they will surely consider it the centerpiece of your fine neighborhood.
Civic officials agree, trailers are a good investment.
Currently in heavy rotation:
Social Distortion - Prison Bound
Dan Deacon - Trippy Green Skull
Ludachrist - How Does It Feel?
Saturday, June 6, 2009
It seems that every school year, there's always a debate whether or not to keep music programs alive in grade schools, despite the educational benefits that music provides. Is it because quality music has become the domain of the counter-culture? Do we have to take part in an alternative style of living to break free from the blunders of top 40 radio? And that's not to put down top 40 radio, either. I have my fair share of guilty pleasures that fall well within that realm. Justin Timberlake? Yes, please. Be that as it may, I don't think we're going to be looking back at Eminem's Crack a Bottle in 50 years and think, "That was a fine example of popular music that has withstood the test of time."
So, I think that begs the question. Is the reason that music is not as highly honored as an art the result of the rather lackluster art (if that's what I must call it for the sake of argument) that is created in its name? Has too much of a good thing really become too much of a good thing? Have musicians decided that its better to release everything than to focus on the few gems that manifest themselves every now and again? Or is the industry at fault? I'll blame the both of them.
Also on the list of people to blame is Rolling Stone, who hasn't been in touch with reality in years. While Rolling Stone is, admittedly, the most opportunistic victim of the blame game, there are plenty of well-funded publications that I've read over the years and thought, "Do these people really know what the hell they're talking about?" That's not to say that smaller publications shouldn't be on the chopping block, either. Pitchfork, I'm looking at you.
I've never been a particular fan of musicians becoming creative brood mares. If it takes ten years to create your next body of work, then that's how long it takes. Take, for example, Portishead's Third. After eleven years in the making, Portishead created perhaps their best collection of work to date. I appreciate that more than churning out three lackluster albums in the same amount of time. The point is that art takes time and that art shouldn't be confined to arbitrary release schedules.
It is art, though, with its own unique cultural history and historical context. Perhaps I need to wait for recorded music to mature more before it can be considered part of a historical context. Then again, if the Bush administration is already being added to the history books, then I'm not sure what we're waiting for. Maybe I'm just crazy.
Currently in heavy rotation:
Straylight Run - Hands in the Sky [Big Shot]
Baxter - Out of Reach
Helmet - Unsung
Thursday, June 4, 2009
I first became involved with the Blake Road Corridor when I started working in Hopkins three years ago. The company I work for currently has partnered with civic organizations and the police department. I would always hear sirens going down Excelsior Boulevard toward the corridor. Eventually, I asked the police commissioner why the police cars only went one direction down Excelsior. He explained that the corridor had its share of problems. Just this past April, a Somali man was murdered at the White Castle in Hopkins, located on the North side of the corridor. This was the second murder in a year, the other being a 90-year-old woman murdered in her house. Before that, the city hadn't experienced any homicides in almost a decade.
The Blake Road corridor exists south of Highway 7 and north of Excelsior Boulevard on Blake road. This corridor, about a mile long, makes its home to 1,350 families. These families are mixed in with industrial complexes and retail spaces, which further divide the neighborhoods and further increase the population density. For all these families, there is only one park. On the same road, south of Excelsior Boulevard, are some of the most expensive homes in Minnesota. The houses are more reminiscent of castles than the quaint, single family homes found on the north side of Hopkins or the densely-packed apartments of the corridor.
This document will attempt to investigate what role social and economic class plays on the corridor.
Currently in heavy rotation:
Placebo - Running Up That Hill [Kate Bush cover]
Editors - An End Has A Start
VAUX - Celibate Good Times
Wednesday, June 3, 2009
Now, I don't want everybody thinking I'm all about name-dropping. In fact, the only dropping around these parts is trees on my house. That's neither here nor there, however. Recently, I've talked about how I've become hyper-critical of my own work. Part of this has to do with me being too eager. I've been accused, on a number of occasions, that I want to accomplish too much too fast. I've never tried to dispute that point, because, quite simply, it's absolutely true. Some projects, I take on without having the proper level of maturity. I've always thought that with age comes understanding. That's not to say that I am unintelligent, it simply means that need to live more of my life before I can fully understand the scope of some of the projects that are floating around in my head. I understand that not everything is like fine wine, though, if the idea bears deep roots, then it will only get better with age. Now, I'm not looking to recreate Uncommon Places or The New West. Those have stood up to history, because the photographic community has acknowledged that they are important documents. So important, in fact, that the photographic community, myself included, has decided that they should become a basis for comparison. A standard, if you will. Of course, I am not so naive that I think photographers, or any artist, for that matter, set out to create a new standard. That new standard, just like the old, is made by acknowledging it as the new standard.
The point is that I acknowledge that my best work may not be in the near future. I'm fine with that. The question is: what do we do in the meantime? More importantly, what do we do when our work is rendered obsolete by our own means? Eventually, a day is going to come where we all create something so beautiful that all things before it pale in comparison. Will we know it when it comes or will we be reminded whenever we create new work that it doesn't live up to the previous standard set by ourselves? For the record, I am not asking this because it is a fear that I am harboring, but because I am curious as to how people deal with that. Does anybody remember the Verve before or after they created Bittersweet Symphony? I didn't think so.
I've decided to take Becky up on her advice to expand my documentation of the Blake Road Corridor to include areas south of Excelsior Boulevard. I will explain that in further detail in my next post, which will include include an artist of statement of sorts and more of an explanation of where the project is, where I see it going, and how I plan to get there.
Currently in heavy rotation:
Eyedea & Abilities - Exhausted Love
Metric - Collect Call
Bush - Letting the Cables Sleep
Friday, May 29, 2009
I don't have very much experience in the whole "somebody stole my effing photos" arena, so I'd like to call upon members of the blogosphere to inform me of what they've done in this sort of a situation, or what they would do if such an event occurred. I'd much appreciate any and all advice, because I don't want to go into this situation without having some sort of notion what I should do. Advice like, "you should break this little bastard's knee caps" will be disregarded, however.
What I know I will do, for sure, though, is go to the Starbucks in question and see if I recognize any other work created by myself or others. I'll keep you posted about that as well. In the meantime, I'll be grumping about the whole situation and cursing under my breath.
UPDATE: He is also using my photos on his website. Great. Oh, and on his flickr.
Thursday, May 28, 2009
If it's a time thing, I can roll with that. Though, I must dutifully inform you that before May 1st, there wasn't much going on in the news world for a long time relating to Hurricane Katrina. There were stories here and there, but most flew under the radar. Even places like NOLA.com have significantly cut back on their coverage since I was there in September. So what gives? Are people still annoyed with the whole thing the news corporations dropped coverage back in 2006? That's over three years ago. How much rest do you need? How fatigued can a person be that they need to get away from something for more than three years?
If it's a relevance thing, then I completely understand. Just please also tell the people that are moving into their cars, unfinished houses, or onto the street that they, too, are irrelevant. Be prepared, however, for them to humbly disagree with you. After all, as they sleep at night, I'm sure they dream of people no longer wanting to help them or tell their story. We should all be so lucky to have our homes destroyed, then have to fight, tooth and nail, to get a shabby trailer to live in for three years while fighting with insurance companies or government entities to secure funds to rebuild our houses. If that's what the American dream is, then tell me where to sign my name. I want a piece of that.
If it's an originality thing, I get it. After all, before the May 1st trailer deadline, there were innumerable documentations of people still living in trailers after three years. I mean, there was the one with... There wasn't. Sure, there is the anomaly of Robert Green. Besides, him, however, there aren't a whole lot of photos floating around of people living in trailers. There was talk of numbers, there was talk of property values, there was talk about deadlines, etc. It was all arbitrary. There were no faces to go with names. There still isn't. Really, I'm just on a crusade for no apparent reason aside from amassing an enormous collection of pictures of trailers. I'm not trying to fool myself here, really it's all quite selfish and has nothing to do with the lack of coverage relating to my story.
All this rant has left me a little fatigued, however. I think I might like to go sleep for three years.
Currently in heavy rotation:
William Elliott Whitmore - Does Me No Good
Hyder Ali - Every Now And Then
Rancid - Maxwell Murder
Tuesday, May 26, 2009
If it's something medical, fix it with chemicals. If it's something physical, blame it on the state.
I think this will be an interesting adventure. I've been thinking about documenting it somehow, to illustrate this growing process and show how we've become a productive team again. If done correctly, it could really show some of the insecurities that both of us have and perhaps create an illuminating series. Maybe I'll buy five more cameras and set them up on remotes. I'm bound to get something good.
Currently in heavy rotation:
Oakley Hall - Bury Your Burden
Eels - Something is Sacred
The Shins - The Past and Pending
Monday, May 25, 2009
So, how do we remedy this? I often find that, in conversation, I am much more effective at deciphering the reasoning behind my photographs. I have pondered the idea of recording myself talk about my work in order to try and find out if I can conjure the proverbial deeper meaning. I think that I may start doing that after each day of shooting in order to help myself understand my own photographs. Ridiculous? Perhaps. Helpful? Hopefully. After all, crazier things have happened.
Currently in heavy rotation:
Moby f/ Sinead O'Connor - Harbour
VAST - Desert Garden
Deftones - Be Quiet and Drive [Acoustic]