Morocco. The year 2000. An exploration. Thousands of k’s in a Fiat Uno with no air conditioning. Deserts, isolation, literature, friends and even an illness or two. Retreating from France. Landing in Rabat then aiming the tiny white hood into the abyss and allowing the world to make the decisions. Need to say thank you to my friend who made this image possible. You know who you are.
“… a mosaic of my time …”
Fair warning, sometime in the future I am going to steal this for my own use 🙂
Perfect phrase to describe work like this from these kind of trips.
Great photo and audio, Daniel, it shows the value of the long-term photo essay. Unfortunately such work has now to be initially financed by the photographer. We keep hearing that in the digital age ‘everyone is a photographer’. This may be true but it doesn’t mean that everyone is a good photographer. Good photography needs time; lots of time, and commitment and – just ‘being there’ – waiting and watching for that moment of magic.
A lot has changed. But, only natural. The good news is that you can do whatever it is you wish to do. If you are smart and realize the limitations of photography itself. Also know that photography doesn’t mean to most people what it means to you and me. But that’s okay too.
A question, Daniel; just curious. I know that you are not working as a photographer at present, but do you think that you could shoot your film essays (I’m thinking about your Sicily work and its like) with digital cameras? Does film have that extra ‘something’ or do you feel that you can match any mood or look using digital?
Sure, you can shoot anything with anything but you won’t get the same results or experience. I ventured to Sicily five times and never had a laptop or smartphone. It was fucking awesome. I engaged. With people, place, surroundings, etc. I didn’t know what I had on those negs. Had an idea but not with certainty. I’ve printed the series in the darkroom, on silver paper. I could have used digital, sure. But it wasn’t, and still isn’t, what I’m searching for.