We Fly High
Category: Our World
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Stay Fly
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A Field Guide
My buddy Garth is about to publish his book A Field Guide. I read it. I was moved. You can upload photos to contribute as well. A good idea, well executed.
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Style Wars
I’ve been shooting with Brad off and on for seven years now. Over that time I’ve been lucky enough to have a creative sparring partner whose style has grown, twisted, and developed as mine has in loping strides and baby steps too. The nature of collaboration between a director and cinematographer can come in all shades, but at its best there is transparent communication, shared goals, and just enough creative tension to eek out more quality than is required from every shot. Over time we’ve come to know each other’s styles well and have come to a sort of peace over certain kinds of compositions.
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Playtime in the Witching Hour
It’s dark. It’s cold. But tricycles and polkadots can warm the
cockles of your heart on a LES streetcorner. -
Soup Kitchen
Just a whisper of detail can make soup snap worthy. Sour cream rolled in crushed walnuts bedded on a leaf of arugula – a garnish for the eyes and for the tongue, krumping like a mug in the kitchen. -
Why Cyclists, Despite Spandex, Are Bad Ass.
Below, Tom Steels gets “checked” by Graeme Brown in a sprint going 60km/h.
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Paris, 1906
Recently, I was reading about the following: In 1906 Picasso painted a portrait of Gertrude Stein who was, at the time, a smart rich girl with a big personality, a taste for art and no job or direction. Picasso was penniless, represented by a middle-of-the-road gallery in paris, and showing virtuoso talent that was, as of then, unfocused and under-appreciated. But stein saw something in his work and in him and became his patron.The portrait effectively marks the beginning of Picasso’s great innovations in art, and it does so by way of some clear borrowing, inspiration and competition from, by and with other painters. It also marks the beginning of Stein’s life as a seriously committed and innovative writer.
They both sensed that something important was happening with the painting and themselves. Neither took it lightly, and both almost immediately mythologized it.
Throughout her life, Stein chose to highlight the intense struggle that Picasso seemed to go through while painting and re-painting the portrait. A lot of it was BS, but we do know that he worked and re-worked her head. Her re-worked head, became such a head of reworking, where she worked and re-worked Picasso.If you can get your hands on the Met’s ’07 Winter Bulletin, do so. It gives the story in great detail. Or go to www.metmuseum.org for a lightweight version of the story. Very cool.
