Among these pictures there are many panoramas. I have a deep love of wide images and make them all the time. The widest are made to be seen as large prints - three to eight feet across. On a computer it's hard to see the scale and details that are so important to the image - they disappear when viewed on a little screen.
Not all the pictures are wide of course. Working on the 15000 Buddhas project has helped me see the faces in many things and so there are pictures of trees and skies as well.
In October 2014 my wife and I went to Stawiski Poland to see where my mother and the Brozozowska/Barron family had come from. Stawiski is a small town about three hours from Warsaw, surrounded by farmland and far from the cities. We traveled there with Hubert Pawlik, a Polish guide from Warsaw who is familiar with the area. Hubert helped us find the abandoned Jewish cemetery outside of Stawiski as well as the place in Plaszczatka forest outside of town where 740 Jews were murdered by the Nazi's in 1941. These pictures show both of those places as well as pictures of buildings still standing in the town that my mother would likely have seen in her daily life as a small girl.
After Stawiski comes images for a new project, A Tour of Memory - Echos From a Lost Jewish Culture. These are pictures made in Poland, Hungary, the Czech Republic and Germany. Pictures made as I began to grasp that the holocaust was not just about the deaths but also about the destruction of a beautiful and vibrant culture. These are pictures about the ghosts you can see in the abandoned Synagogues and streets
In 1973 I went to Bonneville Utah to film and photograph the Sadd,Teague and Bentley roadster for Steed Oil. That year the car set a still standing land speed record (266 mph) as the fastest open body roadster in the world. I was lucky enough to be there that week and to make pictures of some of the classic cars competing.
Photographs for Le Journal de la Photographie. It was my pleasure and privilege to write and shoot for this now vanished on-line journal. These pictures are from a story I did on Steven Poster, ASC, a cinematographer, lifelong street shooting still photographer and dedicated collector of photography,
In 1973, Nicholas Ray checked in to the Chateau Marmont bungalow where, in 1955, he had rehearsed his iconic film, Rebel Without a Cause. He was working with a group of student filmmakers, rushing to complete a new project. By this time in his career, Nick was washed up at the studios. Hobbled by severe drinking and drug use, he stumbled through each day calling the famous actors and studio heads who had been his friends trying desperately to raise money to finish the film and get it to Cannes, where it would be shown out of competition. The film, We Can't Go Home Again, was a wildly experimental, multi-image composite investigation into the political and emotional currents roiling the end of the 60s. While Nick made calls and plans, his team of student editors worked around the clock making the changes the director demanded after every screening.
Nick needed help. Introduced through a friend, I became his aide de camp for two weeks, trying to keeping him moving in what resembled a straight line, finding the “supplies” he needed to get through the day and sometimes making images of the circus as it lumbered through town. I made contact sheets at the time but never printed them and then the negatives were lost and for many years I wondered where they might be and if they were really as I remembered them. Then in 2011 I discovered them, hidden at the bottom of a pile of papers and just as I had recalled. Shot on my Bronica with an 80mm lens, a little thin and with edges crumpled by a faulty film back I believe they reflect the collective desire of the time for emotional truth over technical perfection and that Nick would have liked them.