“Write Me a Love Song” By Michael Tiernan

When Michael and I first discussed the project and I heard the song, I quickly realized the importance of keeping things visually simple. Fortunately we were able to film in the bungalow Michael wrote the song from. And as always collaborating with producer Nena Anderson was great.

http://vimeo.com/10886790

Trailer Park Queen

Teresa Gunn - 4x5 Ilford 100 DELTA

Contact Sheet

Had to do it, I just had to break out the 4×5 view camera and run some film. Ilford 100 Delta b&w to be exact. The subject Teresa Gunn is a singer songwriter and social activist. Her Trailer Park Queen shows have been captivating fans and audiences in San Diego for years. Over the years I have photographed Teresa using virtually every format possible. Even using an 8 mm movie camera with Tri-X film stock. Teresa has always been open to allowing me room to experiment. My reason for using a larger format is simply to slow down the portrait process and concentrate on my subject. It’s too easy to grab a digital camera and blast away a few hundred frames. The sad truth is this can create a disconnect between my subject and me as an artist. Shooting film forces the  to slow down. Giving me the opportunity to craft the image, not just record a snap-shot. The process of setting up the gear, lighting the subject and focusing the camera is time intensive and well worth that investment. Knowing I won’t even see an image for several days is refreshing. I can’t explain it but just that short time of disconnect between shot execution and actually physically holding my film up to a light-box is compelling. For myself this is the main difference between shooting film and capturing digital. I am grateful for the advances in technology that allow me greater flexibility and options when shooting with digital cameras. And for the Artists and Photographers just now learning to study light, they have advantages my colleges and I didn’t have when starting out. Instantly having results without an investment in time or money, working without the physical and organic limitations inherent of silver based processes. At the end of the day, I am still staring at a computer screen trying to make those digital captures look like they were shot on film.

Teresa Gunn - 8mm Bolex / Tri-X Film Stock

INCH

My apologizes to the band members of INCH. Guys I am deeply remorseful for ruining every Casbah show you played 1n 1997. Seriously I am sorry! Dave, Stimy and Kristian I owe you one. You did not need to witness me drunk, sweaty and singing along out of tune, ruining your lyrics. It must have been an obscene visual, my silhouette blocking your perfect view of all the little Casbah birdies behind me. Every now and then I listen to DOT CLASS “C” and smile. Cheers!

Time & Distance

Sometimes it takes 15 years for a particular piece to make me stop and wonder, “Why the fuck did I create that?” Time and distance give me perspective. Remembering it was the pain. Suffering that is so deeply personal, no other rhyme or reason can explain. It is self-medicated pain management on a primal level. It’s difficult for me to look into their eye’s now. They never knew how I used them like a drug. And pimped them like whores for my own self gratification.

I look upon their eyes remembering the pain, smiling and welcoming an old friend.

Gregory Page EPK for “Once & For All”

http://vimeo.com/13963325

A few months back Mr. Gregory Page and I were chatting over coffee, he invited me come along and photograph his recording session with Jason Mraz. What was I going to say? No? I jumped this opportunity to experience Mr. Gregory Page in a recording setting. Everyone seemed to know how special the day was. Jason Mraz in the control booth, Sky Ladd on piano, Josh Hermsmeier on drums, Daniel Rhine on the upright bass and Mr. Lou Fanucchi sat in with his accordion as well. What came from a single day in the studio was absolute magic, an entire album!, “Once & For All”. Immediately after Jim Monroe mastered the album, Mr. Gregory Page began scheming on how to promote his new disk. The result being this short Electronic Press kit we created. Most musicians would rather have a root canal than create a promotional EPK or music video. However, Mr. Gregory Page completely immersed himself in the fabrication of this piece. Now that it’s done, I have a sneaking suspicion, Mr. Gregory Page is already writing new songs and will record another album next month.

I sure fucking hope so!

Gregory Page, Josh Hermsmeier, Daniel Rhine, Sky Ladd on a break from recording.

Thank you Mr. Gregory Page.

“Jewel in the Heart of a Lotus” by Styletones

http://vimeo.com/13724385

Got to work with Steve Harris for the first time in many years. He is fronting the Styletones. Big band with big sound. Eight members with Ben Moore on a Hammond B3 Organ, Jake Najor on drums, Bill Thomas Bass guitar, Deron Gant guitar, Andy Geib Trombone, Gabriel Sundy Saxophone, Freddie Gonzales Trumpet. Shooting live performances can be tricky. Trying to take advantage of each venues stronger assets was key for me. Bar Pink is an incredible Bar, but its a Bar, dark with tight quarters. So I emphasized those attributes. The OB street fair was a great opportunity to show the Styletones in front of a large crowd and they didn’t disappoint. Last shoot was at the Belly Up Tavern where I looked for graphic elements to help tell the story. For me this project was an experiment in letting go, focusing on the bands performance energy. I say this piece did the trick.

Portrait of Steve Harris - 1996

“Worlds Collide”

Latest project finally finished! This one in particular took the crew around the world and back. Literally, to Stary Oskol Russia. Tim Mantoani was working on an assignment photographing the cover athletes for the new EA Sports MMA game. First we stopped in Las Vegas and worked withRandy Couture. Then headed to Moscow where we jumped a train for twelve hours to Stay Oskol. Fedor Emelienenko was Tim’s subject. The trip was quite amazing. Editing was challenging. Fortunately I had access to Tim’s photography. Spent a solid 7 days working this edit out. A few moments Tim and I actually found ourselves having fun creating the motion illustrations with his images.

Then Christopher Hoffee was called in to score the soundtrack. The art director Larry Baltutis secured the “Voice of EA Sports”, Mr. Andrew Anthony for voice over. Breaks down like this, we had an incredible assignment, and an incredible team, from the assistants and producers on the ground in Russia and the US. Working with Tim Mantoani’s images and Chris Hoffee’s music score was a real treat.

Chune

On my first photo shoot with Brian Spevak and Cargo Records, I went and hung out with Andy Harris and the band at their practice space. Just so happens, it was on top of a bar on 30th near University. I looked like I was just off the golf course, wearing kacki slacks, collared shirt, etc. Once they realized I wasn’t a COP, the shoot progressed nicely.

I like my selection better.

“License Plate Eyes” by Steve Poltz

Steve Poltz asked me to knock out a quick video for his new album. Special thanks to Gregory Page for helping with some camera work. And also thank you to Louis Brazier of Lestats’ for use of the stage.

Support your independent artists, buy merch!  http://www.merchlackey.com/stevepoltz/

“Way to Roll”

Working with friends can be challenging. Patrick Dennis and I have known each other since the “good old Cargo Record days.” His ability to challenge me creatively is amazing. Patrick Dennis is first and foremost a musician. You just look at him and know he is a singer and songwriter. His swagger screams Rock-Star! His confidence and conviction is why editing for “Way to Roll” took so damn long, but turned out so damn good.

Having Art Brewer’s imagery to work with didn’t hurt. Art shot his stills in sequences that really worked well as animations. Anyone can see he is a master photographer. Patrick and Nena, acquiring some great music from Mr. Tube and the Flying Objects to edit with was just icing on the cake.

Nena Anderson, always keeps the boys on track and in the moment. I don’t think the project would have been nearly as strong without her presence or persistence. This was my first opportunity to work with her, fortunately not my last. No good shoot or project would happen without a good producer.

Like the Custom X project, the Electra Bicycle project again was a commercial project that expanded my creative vision. Incorporating motion and still images to give the project life was effective. The journey was a battle.

Dad always said, “You fight the good fight with people you can trust and who trust you.” This was one hell of a good fight.