This weekend's album was Gillian Welch's Boots No. 2: The Lost Songs, Vol. 3 — including a recording of "Make Me Down A Pallet On Your Floor" that has melted me into pieces each time I've seen her perform it live. The whole album had me crying in the car yesterday. There's a great NYT piece about her and Dave that was published this week to accompany the release.
You perfectly described why some Eggleston shots are so special. Making something that feels like what life looks like — that's not nearly as simple as it seems.
I’ve been trying out square format (influenced by yourself and Peter Mitchell). I find it more demanding than 3x2 when it comes to geometry and the composition within the frame. The horizontals and verticals need to be true if I shoot flat on. And shooting at an angle, the tiniest move changes the composition so much.
Really enjoyed this entry, David. Wonderful examples, and I know just what you mean about each camera lending its own particular way of looking at the world -- for me, it's the difference between 35mm and digital. About to head out into the wilds myself, as soon as my traveling companion wakes up from her nap. I'm thinking Wilkes Co. today. My Saturday night album was Song for My Father by Horace Silver and my Sunday morning album was Out to Lunch by Eric Dolphy. I might change that pace when I get in the car, though. The Scud Mountain Boys are calling.
Davy, I tried out the Dolphy LP! Once I get past the relatively hard bop of "Hat and Beard" it settles right into what I need for coffee and eggs! Hope the shooting went well--I headed off to Demopolis after writing this last week.
This weekend's album was Gillian Welch's Boots No. 2: The Lost Songs, Vol. 3 — including a recording of "Make Me Down A Pallet On Your Floor" that has melted me into pieces each time I've seen her perform it live. The whole album had me crying in the car yesterday. There's a great NYT piece about her and Dave that was published this week to accompany the release.
You perfectly described why some Eggleston shots are so special. Making something that feels like what life looks like — that's not nearly as simple as it seems.
I'm listening to that this morning! Sometimes her songs just access something deep in me that unravels everything.
When it comes to Allen Toussaint's Southern Nights, I am pretty partial to the Songbook version :)
I’ve been trying out square format (influenced by yourself and Peter Mitchell). I find it more demanding than 3x2 when it comes to geometry and the composition within the frame. The horizontals and verticals need to be true if I shoot flat on. And shooting at an angle, the tiniest move changes the composition so much.
Ro, I think that's absolutely right. So much of it is getting a feel down to what you want in the frame, and hoping it all hangs together.
Really enjoyed this entry, David. Wonderful examples, and I know just what you mean about each camera lending its own particular way of looking at the world -- for me, it's the difference between 35mm and digital. About to head out into the wilds myself, as soon as my traveling companion wakes up from her nap. I'm thinking Wilkes Co. today. My Saturday night album was Song for My Father by Horace Silver and my Sunday morning album was Out to Lunch by Eric Dolphy. I might change that pace when I get in the car, though. The Scud Mountain Boys are calling.
Davy, I tried out the Dolphy LP! Once I get past the relatively hard bop of "Hat and Beard" it settles right into what I need for coffee and eggs! Hope the shooting went well--I headed off to Demopolis after writing this last week.