THIS WAS SUPPOSED TO BE SOMETHING I COULD SHOW YOU AWHILE AGO. The vinyl version of Tierra Firme was supposed to be out at the same time as the CD, but there were technical issues so it only became a thing recently. I think it looks great; I wish everything I did came out on LP. Hell, I want to record an album so I can make another LP cover.
As I’ve said before, I never really got to enjoy the heyday of the vinyl era. Compact discs had taken over and vinyl was on the way out when I began shooting my first record artwork, so I got used to seeing my work 5″ square, or maybe on a slightly larger oblong package when the jewel case was no longer standard music packaging. I honestly never expected that I’d see my photos on an LP cover, but here we are, and I’m thrilled.
It was great to see my work nice and big, pretty much exactly as I imagined it a year ago when we did the shoot. Reaching into the LP sleeve and seeing another photo on the inner sleeve was gratifying. The inside shot was meant as a promo photo (see below) – if I get to do this again I’d like to try to make something that’s more of a cohesive graphic package.
The promo group shots were actually inspired by a Sonny Rollins photo Jane sent me when we began brainstorming the cover – the cover image was an idea we had later, when Jane wanted to do something that evoked the title of the record. I think we would both have wanted to take more promo setups that day, but the shoot was going long and I didn’t want to keep Jane and the band any longer.
The shoot also ended up in the year-end reader’s poll issue of Downbeat, which was richly ironic, given my (long ago and brief) history with the magazine. (Click here – it’s a good story.) With this in mind, I loved seeing a photo of mine in Downbeat.
I DIDN’T SPEND AS MUCH TIME AT THE ART GALLERY OF ONTARIO THIS YEAR as I have in previous years. The many hours I’ve spent with my camera wandering around the AGO (and other art galleries) have been a big part of reviving my love of shooting. But without youngest offspring attending art classes at the gallery, however, there have only been two visits there with my Fuji X30.
This is an ongoing project that I probably wouldn’t have pushed this far without digital camera technology. Between the nearly silent shutter on the X30 and its waist-level LCD viewfinder, stalking random gallery goers has never been easier. I suppose I could be doing this out on the street, but shooting inside art galleries has the effect of eliminating variables like weather and light.
If there’s anything notable about this year’s photos it’s that I’ve started cropping tighter and moving in closer to my subjects. I don’t know if that’s because I’ve gotten more confident with this project or that I’m more of a psycho about my “street photography” and how much I’m happy to take from the passersby who stray in front of my camera.
Still not sure about where this is all going. There’s a few years worth of these shots now, all loosely grouped under the title “Right Behind You.” I don’t think I’m quite there yet with the project as a cohesive whole; maybe I need to shoot in a bunch of other museums, or maybe I need to take this back out onto the streets. This next year seems like the time to make a decision about the future of my lurking.