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With this in mind, I have photographed country musicians in Nashville, my family and friends in Massachusetts, horse racing at Saratoga, nightlife in Buenos Aires, old highways everywhere, everyone in Cajun Louisiana, South American baseball, camel breeding in Dubai, tri-racial families in Maryland, and much, much more.
For subjects, I prefer older cultures and places, especially disappearing ones.
“Even if you make bad pictures,” he said, “you’ll have a good time.” Thank you for that, Harry.
And much of the country dialed in the Grand Ole Opry on Saturday night. I just thought I was fulfilling my final history assignment from my ex-teacher, the legendary E. And while that seems a tad pretentious, what can I say? In a way, it mirrored the approach of many of the musicians. Fred worked in a shoe store as a salesman much of his life.
They are creative and driven and determined to serve up their vision of the world in song, dance, humor, and narrative. To paraphrase folksinger Mayne Smith, “You might not like their style, boys, but you will know who they are.” For the photographers and technical geeks out there, I shot all the earliest pictures in with a 35mm camera, during stage performances or off to the side when performers were taking a break.
I fitted my trusty Canon EOS-1V with the fastest lenses I could, including a 50mm f/1 and an 85mm f/1.2, and usually used Fujipan 1600, to capture light in the dimmest possible spots.
Sometimes the music was great; sometimes not so great. Later in life, as his fortunes improved, his stories became grander. Part of the settlement was that he could never sue them again.
"But that doesn't mean Doris can't," I can still hear him saying. What I didn't learn about storytelling from my dad I learned at the racetrack, where good stories are easier to come by than good horses. But they really date to 1968, when Arthur Siegel, my Photo One teacher, introduced me to the documentary photographs of Robert Frank, Brassai, August Sander, Weegee, and Ed van der Elsken.