and then I wrote an email to a friend of mine.
Here are some pictures.
I’ve been shooting a lot more video recently, video street photography. Figuring it out. It’s a concept that I’ve had for a while and finally got a camera to do it. Purpose built for the job.
I’ve been using 24mm lenses now for about 5 years, always preferring 24mm because it was wide and yet not insane. However today, I took with me two new lenses that I hadn’t used yet, and started the day on the 24 as usual, and saw something that I hung around a bit for, but it wasnt working so I moved on and found something else, and it didn’t work so I moved on again then went and had a cuppa coffee. During coffee I decided it might be a good idea to change to the new 35mm and see how it is. I put it on, went back out to the first spot that didn’t work and looked through the camera and thought what the fuck was I missing earlier? So I put the 24mm back on and there it was, a realization that I can actually see better with 35mm, I can see without having to look through the camera despite “knowing” 24mm and knowing what the image will be like before pressing the button.
These are all good Zeiss optics so the lens quality isn’t an issue. In fact that 24mm is, as 24mm lenses go pretty off the charts as it were.
Anyway, tomorrow I’ll be back on the streets with just the 35mm. Alex Webb told me that he likes how a 35mm lens ‘recedes’ and after this, I have to agree.
A shit film is a shit film because it has shit sound.
An interesting film is a shit film with great sound.
A really good film is an ok film with great sound
A brilliant film is a brilliant film because its made with intent and cut with intent and sounds amazing.
The rest is hollywood.
The fleeting moments that spin into the corner of my eye in the white noise of town, to make them last, to stall the rush from now to then and seek the future.
Her tattoo says DREAM on her fingers constellations. Her bag is from a record store in Boston. Her face from another time, elegant and graceful, a gasp at the end.
See it here http://vimeo.com/devtank/dreamrunner
I’ve been back from India just over a year now, back living in the US and in that time its been a real struggle, both on a personal level and financially.
Looking back on that time, a half-year spent in India, thinking about it and thinking about how much I miss it, and yearn for the Utopian chaos to run through my veins once more.
I have edited my photography over and over trying to extract the essence of the experience. However the personal journey that India was to me, has obscured my objectivity, something that only time can distill.
I have started once again on the editing process, going back over the audio recordings I made, and in doing so, had an epiphany about the work. I realize that I have no choice but to go back to India, and capture more audio, this time with an expanded kit. And to dedicate much more time and effort into making quality environmental recordings.
Audio recordings offer a taste of reality that video and photography simply cannot touch. Where video has to be constructed to make a compelling presentation, and photography provides specificity, and depth, that depth is within just that contextual intimacy.
Audio offers a living reality of time based exploration. Audio treats the consciousness to a wide layered mental vision, one that the mind is intrinsically connected to, there is no learning to listen, whereas there is learning to read photographs.
This Location Sound during the Anup Jalota concert at Pilot Baba’s Ashram camp 2013 Maha Kumbh Mela, Sangam Allahabad, Uttar Pradesh India. I had decided to walk around the sector 9 area where the ashram was located, about 7 miles from the actual main bathing area.
You can hear all of the local sounds, and the far distant sounds of the millions (130,000,000 to be more accurate) of pilgrims who existed at the ‘city’. Headphones highly recommended. Sit back and enjoy the Mela as I did for thirteen minutes.