What I did on my summer vacation: the first trailer for Every Everything, the Grant Hart documentary that I shot with last August. My first two thoughts were how cool is this and I miss those guys so much. Among the best five days of my life, that work.
It is always a pleasure and a privilege to shoot Grant Hart, and see him play; he’s a genius songwriter, he’s one of the weirdest and most interesting people I’ve ever met, and as a photographer, he has one of those gorgeous, odd, sharp-angled faces that are fascinating, endlessly, to shoot. It was a lovely set.
Patty Hurst Shifter was loud and strange and wonderful, as always. Brett Harris, fresh off an unexpected stranding in New York City, played some new stuff that’s really fantastic; I haven’t seen him in some months and I forget sometimes how I love his stuff.
Full set is here.
Having access to a gorgeous converted mill studio to shoot Grant, for future Every Everything promo, was a joy. I want a studio. And also some studio lighting. And Gorman’s 85mm f2.8 lens. And a million dollars, and a pony. And for the Orioles to win the World Series, if I’m asking for things.
But mostly a studio, and clients who were all as easy going, trusting, and expressive as Grant. (Not to suggest that everyone I’ve shot in the past wasn’t all those things; they were. But would that everyone ever was, really.)
First, I am still so tired, you guys. I am so, so tired. I have a huge bruise-slash-scrapes-slash-lump-of-pain on my right shin from where the sound case fell out of the SUV trunk on Tuesday, I have a new scrape on my right knee from where I fell off the curb into 4th Street, I have an inexplicable and enormous bruise on my elbow where I don’t even know where it came from. My flight home was miserable. I still have 1200 photos to edit, and I’ve already been on a first pass through 2000.
My trip was completely amazing.
We spent yesterday, my last day with the Every Everything crew, shooting at the 7th St Entry. It was amazing.
Day One of Every Everything.