T R A I N S
n alloween of , I was in the en h a te of ew leans, fa ing the to stone of a ie a ea , the oodoo een, and the a io s odd gifts at its foot left ad i e s. oing the to ist thing, I took o t ell hone and was lanning to take a olo hotog a h, when a ident, I set it to la k and white, took the hoto, sta ed at it afte wa ds and a light swit h in ain went on. n i ediate onne tion with so ething that had een inside of e all along ha ened
like a flash of lightning, and I was hooked. If I t ned the a e a s e e e t e el lose towa ds s a led i e fe tions on the to stones athe than the standa d shots of the na es on the a wo ld o ened that ade o lete sense, at least on an a st a t le el.
he floodgate o ened, and these ooks e esent diffe ent olle tions of this wo ld. ll la k and white the olo s of the night. t wh . . o e aft, in his ook e nat al o o in ite at e, said he oldest and st ongest e otion of ankind is fea , and the oldest and st ongest kind of fea is the fea of the nknown. hat I e t ied to do with the s e ts hosen is find wa s to a t e i ages f o that in isi le wo ld of the nknown that he s eaks of. he ste ehind that whi h is nseen gli ses of hidden things o things not hidden t seen In a diffe ent wa ost effe ti e and o e ste io s, I elie e, in la k and white. s a fil o ose i a il of gen e fil s, I e w itten lots of si to des i e what I st entioned, t fo so eone else s o ing i ages. ow, he e a e own still life is als, t ing to find wa s to ente the nknown this ti e witho t the si
I ha en t had an t aining in hotog a h , so I don t eall know what I doing. he ea liest hotos ha ened si l st at hing an nalte ed o ent of so ething that a ght e e. s ti e assed, tho gh, I dis o e ed that a tiall a ident , as I swe t ell hone left to ight, o and down then in fast i les, and also wha king it on hand, o the glass windows and windshield when I was in a so ething new and e iting ha ened. s ell hone a e as de elo ed, the offe ed editing o tions, whi h I sta ted t eating the aw hotos with. ate on a o t two ea s ago I was taking shots of oil d ills, when I wha ked the a window too ha d the a e a alf n tioned and sta ted a e anent hoto wo le whi h ne e went awa . hat eated a onsistent l ing effe t on i t all e e i t e I took. I got atta hed to it.
o e of the ooks tell a sto with a eginning, iddle, and end. t ost don t and a e st olle tions of hotos o nd a si ila the e o a g o . he ooks telling a sto a e ett a st a t in thei esentation and e i e an i agination to follow the l es a e in the ook titles the sel es.
It s een s ggested an ti es that I a o an the hotos with si I d w ite to des i e the , so that a iewe o ld see and hea the at the sa e ti e. owe e , I de ided it was est not to se si to infl en e the i ages. I not s e I d e en know how to s o e the s essf ll witho t iasing the iewe in the w ong wa . It s h easie to o li ent so eone else s is als than own. he iewe sho ld ake si in thei own heads if ins i ed, witho t an li its to thei i aginations. o, silent the hotos a e, and silent the will alwa s e
In losing, I want to thank all of the a a ingl wonde f l and talented f iends who hel ed get these ooks to the finish line. e ond taking all the i t es and odif ing the on own, I was lost with the te hnolog needed to set the in this final fo at. ow l k , how lessed I a to ha e had thei in t, and that o li es inte se ted. he all nde stood o letel what I was t ing to a o lish and took the o ne with e into that in isi le wo ld. o again, thanks to all o f iend, h is
PHOTOGRAPHY, MANIPULATIONS, AND CONCEPT: C Y
CONCEPTUAL EDITING, LAYOUTS, AND RETOUCHING: S SPECIAL THAN S: M R