Sequels #500
1968
The end.
For over a year and a half, I've been diving into my archive to develop a project to show how photography, with its unique values, can portray the humanistic way I have photographed the world.
I returned to NYC from my house on Cape Cod less than a week after 9/11. The first thing I did when I got home was race downtown to see the fallen towers. Many of you know this story, but when I got there and raised my camera to my eyes, a police officer approached me, whapped me
2. The American Express Building with a spear from the North Tower, 2001
3. Eddie, a Mechanic, standing by a grappler, 2002
4. Smoke rising in sunlight, 2001
5. An officer and dog from the NYPD K-9 Unit, 2001
6. A fireman places flowers at the foot of Building 4, 2001
7. An EMS worker. When I asked her about herself she offered, charmingly, that she was Ivonne Sanchez, Miss September in the Emergency Medical Services Calendar, NYC, 2002
8. Grapplers working in the lobby of the North
1. Detectives of the NYPD Arson and Explosion Squad, 2001
2. Smoke and ash explode from the pile when steel is pulled out and oxygen races in, 2001
3. Gardeners in the garden of the dead, 2002
4. The interior of the Winter Garden, 2001
5. Abandoned toys on the floor of the daycare center, 2001
6. A Bugler Plays Taps, 2001
7. Fireman searching and sifting for remains inside the North tower, 2001
8. Dusk, welders working where the Marriot Hotel once stood, 2001
At 85, I’m in a time of reflection now, and I find myself looking back over all kinds of things which produce some really deep reconsiderations about the way I saw myself; but also a refreshing look at my consistencies too, then who am I question never really goes away, for
Almost 39 years ago.
Aug. 28, 1984: Grass, yellow tips, yellow sun on white warm grey roof, pinkish blue sky.
Dune Grass House, Truro, Massachusetts, 1984
Sequels
A photograph tells us the objective truth of what the photographer and the camera saw in that first moment of recognition. But besides delighting in the purity of the singular image photographs can also act like an alphabet of meanings when seen in relationships with