NOTE: new hi res in file

p o r t f o l i o Clockwise An untitled p o r t f o l i o from here: shot from Fleetwood shot Johnny Cash, Lou Reed’s this field of New York. 1969; Joni Musical legacy: Leader of the Velvet Underground, poppies with a Perry Farrell’s Mitchell, © graham nash (4) godfather of punk and alternative rock. Photog- 35mm SLR. photo of 1969; Neil his wife, Etty. Young, 1970; raphy publications: Emotion in Action (2003), Lou Nash, 1974. Reed’s New York (2006). ★ Perhaps no single rock-and-roll figure is more closely associated Mick with New York City than Lou Reed. Spanning five Graham decades, Reed’s observant, provocative songwrit- ing has delineated the city’s street life in all its fleetwood grit and glory. Since the late 1980s, Reed has nash also been photographing on the wild side, usually focusing on urban scenes with various cameras, his favorites being Contax 35mm SLRs with wide- angle Zeiss lenses. “I have this really beautiful jewel lens that I treated myself to finally, after much wondering whether I should just wear it as jewelry or actually use it,” says Reed. “I’m a big fan of great engineering.” Having been published in a lavish 2006 book by Steidl (see Books, page 26), Reed’s photography is featured in an exhibi- tion that has traveled from Milan to Madrid to Pittsburgh’s Andy Warhol Museum—fittingly, as Warhol was an early mentor. Like much of his music, Reed’s visual work tends to be bold and Greatest hits: Multi-platinum albums Rumours experimental, melding dreamlike moods with (1977), Fleetwood Mac (1975), and Tusk swashes of streaming lights and dramatic sky- (1979). Photo exhibition: On view at Célébri- lines. “As with everything else I do, my photos are tés Galleries in Wailea, Hawaii, through about emotion,” he says. “When a photograph August, with a catalog published by Celeb- works, I have a bodily response. I don’t have to pub Inc. ★ Mick Fleetwood has been tak- think about it much. Just like with music.”—j.c. ing pictures since the mid-1960s, when the group he formed with John McVie was a hard-edged British blues band that sounded very different from the California pop sen­ sation it would later become. Drummer Fleet- “ “ wood documented the band’s journey with a A celebratory I think music and Canonet GIII compact rangefinder, a Leica moment. Music and photos are CL, and Nikon 35mm SLRs. “John McVie part of the same photography are part and I both got into taking photographs, and “ p o r t f o l i o of the same thing: thank God we did, because we have this Sound is a very subtle energy. It’s just, where lovely library of stuff,” says Fleetwood, now do I want to it’s rhythm, light, air, 60. “But about five or six years ago, I started form of energy. making photos as a sort of private project, Capturing this energy point this energy beam? movement, focus— all landscapes.” Fleetwood created an exhi- and more focus. bition of impressionistic, 14x20-inch prints. can even set the body “What I’ve always loved about music, and ” photography too—it’s all in the beholder,” says in motion—which makes ” Fleetwood. “And it’s about the moment, it’s for a good picture! Perry Bands: The Hollies; Crosby, Stills, Nash & Young. about the passion, it’s about doing something. Photo publications: Eye to Eye: Photographs by Just pick up the camera and start taking Graham Nash (2004); Nash Editions: Photography pictures! I tend to feel most proud of things ” and the Art of Digital Printing (2006). ★ Aside that are simply of the moment—I just sit Farrell from his music, Graham Nash can stake a claim on a hillside and think about what’s right and j c to fame as a digital-imaging pioneer: He was the what’s wrong, and there’s the result.” — . . d first person to use an Iris inkjet printer to create Bands: Jane’s Addiction, Porno for Pyros. Pho- friedman anielle fine-art photos. Nash Editions, founded in 1990 tography publication: Album covers for the by Nash and partner R. Mac Holbert, is the world’s above. ´ As the voice and leader of the pio- first fine-art digital printmaking studio. But Nash’s “ neering alt-rock band Jane’s Addiction, Perry love affair with photography began decades Farrell personified not only the group’s influen- earlier, before he became a musician. “I’ve always Like music, tial sound but also its provocative image. Far- carried a camera around,” Nash recalls, “but I photography is a form rell’s risqué album-cover art helped put the never shared my images except with close friends.” band on the map—and got its records banned of universal by American chain stores like Wal-Mart At the urging of singer Joni Mitchell, Nash began Lou showing his photos in the ’90s; a traveling exhi- language that can (prompting generic alternative covers to be cre- bition was to be at the Morrison Hotel Gallery in ated by the Warner Brothers label). Founder of Los Angeles this summer. “This is a strange world communicate an the Lollapalooza rock festival, Farrell later to me,” Nash says of the gallery circuit. “I’ve reed headed the band Porno for Pyros and pursued a generated a certain amount of respect for doing array of messages solo career, but photography has been his abid- thoughtful work in music. It’s very different to open and can be a ing avocation. “My father had cameras floating yourself up to a different discipline. But I love around in his closet,” recalls the 48-year-old p o r t f o l i o Farrell (who lists his age as “timeless”). “I love it—and I’m learning more every day.” —jack crager © very powerful tool. lou reed (2) reed lou photos because, being that we are in constant motion, moments pass and then cease to exist ” again. The photograph suspends life for us. You

62 www.AmericanPhotoMag.com 64 www.AmericanPhotoMag.com © mick fleetwood (2) www.AmericanPhotoMag.com 77 need only to look to relive.” —j.c. Farrell and band during a video shoot. perry farrell (2) www.AmericanPhotoMag.com 71

left page # 62 right page # 63 left page # 64 right page # 65

left page # 70 right page # 71 NOTE: new hi res in file

p o r t f o l i o Clockwise An untitled p o r t f o l i o from here: shot from Fleetwood shot Johnny Cash, Lou Reed’s this field of New York. 1969; Joni Musical legacy: Leader of the Velvet Underground, poppies with a Perry Farrell’s Mitchell, © graham nash (4) godfather of punk and alternative rock. Photog- 35mm SLR. photo of 1969; Neil his wife, Etty. Young, 1970; raphy publications: Emotion in Action (2003), Lou Nash, 1974. Reed’s New York (2006). ★ Perhaps no single rock-and-roll figure is more closely associated Mick with New York City than Lou Reed. Spanning five Graham decades, Reed’s observant, provocative songwrit- ing has delineated the city’s street life in all its fleetwood grit and glory. Since the late 1980s, Reed has nash also been photographing on the wild side, usually focusing on urban scenes with various cameras, his favorites being Contax 35mm SLRs with wide- angle Zeiss lenses. “I have this really beautiful jewel lens that I treated myself to finally, after much wondering whether I should just wear it as jewelry or actually use it,” says Reed. “I’m a big fan of great engineering.” Having been published in a lavish 2006 book by Steidl (see Books, page 26), Reed’s photography is featured in an exhibi- tion that has traveled from Milan to Madrid to Pittsburgh’s Andy Warhol Museum—fittingly, as Warhol was an early mentor. Like much of his music, Reed’s visual work tends to be bold and Greatest hits: Multi-platinum albums Rumours experimental, melding dreamlike moods with (1977), Fleetwood Mac (1975), and Tusk swashes of streaming lights and dramatic sky- (1979). Photo exhibition: On view at Célébri- lines. “As with everything else I do, my photos are tés Galleries in Wailea, Hawaii, through about emotion,” he says. “When a photograph August, with a catalog published by Celeb- works, I have a bodily response. I don’t have to pub Inc. ★ Mick Fleetwood has been tak- think about it much. Just like with music.”—j.c. ing pictures since the mid-1960s, when the group he formed with John McVie was a hard-edged British blues band that sounded very different from the California pop sen­ sation it would later become. Drummer Fleet- “ “ wood documented the band’s journey with a A celebratory I think music and Canonet GIII compact rangefinder, a Leica moment. Music and photos are CL, and Nikon 35mm SLRs. “John McVie part of the same photography are part and I both got into taking photographs, and “ p o r t f o l i o of the same thing: thank God we did, because we have this Sound is a very subtle energy. It’s just, where lovely library of stuff,” says Fleetwood, now do I want to it’s rhythm, light, air, 60. “But about five or six years ago, I started form of energy. making photos as a sort of private project, Capturing this energy point this energy beam? movement, focus— all landscapes.” Fleetwood created an exhi- and more focus. bition of impressionistic, 14x20-inch prints. can even set the body “What I’ve always loved about music, and ” photography too—it’s all in the beholder,” says in motion—which makes ” Fleetwood. “And it’s about the moment, it’s for a good picture! Perry Bands: The Hollies; Crosby, Stills, Nash & Young. about the passion, it’s about doing something. Photo publications: Eye to Eye: Photographs by Just pick up the camera and start taking Graham Nash (2004); Nash Editions: Photography pictures! I tend to feel most proud of things ” and the Art of Digital Printing (2006). ★ Aside that are simply of the moment—I just sit Farrell from his music, Graham Nash can stake a claim on a hillside and think about what’s right and j c to fame as a digital-imaging pioneer: He was the what’s wrong, and there’s the result.” — . . d first person to use an Iris inkjet printer to create Bands: Jane’s Addiction, Porno for Pyros. Pho- friedman anielle fine-art photos. Nash Editions, founded in 1990 tography publication: Album covers for the by Nash and partner R. Mac Holbert, is the world’s above. ´ As the voice and leader of the pio- first fine-art digital printmaking studio. But Nash’s “ neering alt-rock band Jane’s Addiction, Perry love affair with photography began decades Farrell personified not only the group’s influen- earlier, before he became a musician. “I’ve always Like music, tial sound but also its provocative image. Far- carried a camera around,” Nash recalls, “but I photography is a form rell’s risqué album-cover art helped put the never shared my images except with close friends.” band on the map—and got its records banned of universal by American chain stores like Wal-Mart At the urging of singer Joni Mitchell, Nash began Lou showing his photos in the ’90s; a traveling exhi- language that can (prompting generic alternative covers to be cre- bition was to be at the Morrison Hotel Gallery in ated by the Warner Brothers label). Founder of Los Angeles this summer. “This is a strange world communicate an the Lollapalooza rock festival, Farrell later to me,” Nash says of the gallery circuit. “I’ve reed headed the band Porno for Pyros and pursued a generated a certain amount of respect for doing array of messages solo career, but photography has been his abid- thoughtful work in music. It’s very different to open and can be a ing avocation. “My father had cameras floating yourself up to a different discipline. But I love around in his closet,” recalls the 48-year-old p o r t f o l i o Farrell (who lists his age as “timeless”). “I love it—and I’m learning more every day.” —jack crager © very powerful tool. lou reed (2) reed lou photos because, being that we are in constant motion, moments pass and then cease to exist ” again. The photograph suspends life for us. You

62 www.AmericanPhotoMag.com 64 www.AmericanPhotoMag.com © mick fleetwood (2) www.AmericanPhotoMag.com 77 need only to look to relive.” —j.c. Farrell and band during a video shoot. perry farrell (2) www.AmericanPhotoMag.com 71

left page # 62 right page # 63 left page # 64 right page # 65

left page # 70 right page # 71 NOTE: new hi res in file

p o r t f o l i o Clockwise An untitled p o r t f o l i o from here: shot from Fleetwood shot Johnny Cash, Lou Reed’s this field of New York. 1969; Joni Musical legacy: Leader of the Velvet Underground, poppies with a Perry Farrell’s Mitchell, © graham nash (4) godfather of punk and alternative rock. Photog- 35mm SLR. photo of 1969; Neil his wife, Etty. Young, 1970; raphy publications: Emotion in Action (2003), Lou Nash, 1974. Reed’s New York (2006). ★ Perhaps no single rock-and-roll figure is more closely associated Mick with New York City than Lou Reed. Spanning five Graham decades, Reed’s observant, provocative songwrit- ing has delineated the city’s street life in all its fleetwood grit and glory. Since the late 1980s, Reed has nash also been photographing on the wild side, usually focusing on urban scenes with various cameras, his favorites being Contax 35mm SLRs with wide- angle Zeiss lenses. “I have this really beautiful jewel lens that I treated myself to finally, after much wondering whether I should just wear it as jewelry or actually use it,” says Reed. “I’m a big fan of great engineering.” Having been published in a lavish 2006 book by Steidl (see Books, page 26), Reed’s photography is featured in an exhibi- tion that has traveled from Milan to Madrid to Pittsburgh’s Andy Warhol Museum—fittingly, as Warhol was an early mentor. Like much of his music, Reed’s visual work tends to be bold and Greatest hits: Multi-platinum albums Rumours experimental, melding dreamlike moods with (1977), Fleetwood Mac (1975), and Tusk swashes of streaming lights and dramatic sky- (1979). Photo exhibition: On view at Célébri- lines. “As with everything else I do, my photos are tés Galleries in Wailea, Hawaii, through about emotion,” he says. “When a photograph August, with a catalog published by Celeb- works, I have a bodily response. I don’t have to pub Inc. ★ Mick Fleetwood has been tak- think about it much. Just like with music.”—j.c. ing pictures since the mid-1960s, when the group he formed with John McVie was a hard-edged British blues band that sounded very different from the California pop sen­ sation it would later become. Drummer Fleet- “ “ wood documented the band’s journey with a A celebratory I think music and Canonet GIII compact rangefinder, a Leica moment. Music and photos are CL, and Nikon 35mm SLRs. “John McVie part of the same photography are part and I both got into taking photographs, and “ p o r t f o l i o of the same thing: thank God we did, because we have this Sound is a very subtle energy. It’s just, where lovely library of stuff,” says Fleetwood, now do I want to it’s rhythm, light, air, 60. “But about five or six years ago, I started form of energy. making photos as a sort of private project, Capturing this energy point this energy beam? movement, focus— all landscapes.” Fleetwood created an exhi- and more focus. bition of impressionistic, 14x20-inch prints. can even set the body “What I’ve always loved about music, and ” photography too—it’s all in the beholder,” says in motion—which makes ” Fleetwood. “And it’s about the moment, it’s for a good picture! Perry Bands: The Hollies; Crosby, Stills, Nash & Young. about the passion, it’s about doing something. Photo publications: Eye to Eye: Photographs by Just pick up the camera and start taking Graham Nash (2004); Nash Editions: Photography pictures! I tend to feel most proud of things ” and the Art of Digital Printing (2006). ★ Aside that are simply of the moment—I just sit Farrell from his music, Graham Nash can stake a claim on a hillside and think about what’s right and j c to fame as a digital-imaging pioneer: He was the what’s wrong, and there’s the result.” — . . d first person to use an Iris inkjet printer to create Bands: Jane’s Addiction, Porno for Pyros. Pho- friedman anielle fine-art photos. Nash Editions, founded in 1990 tography publication: Album covers for the by Nash and partner R. Mac Holbert, is the world’s above. ´ As the voice and leader of the pio- first fine-art digital printmaking studio. But Nash’s “ neering alt-rock band Jane’s Addiction, Perry love affair with photography began decades Farrell personified not only the group’s influen- earlier, before he became a musician. “I’ve always Like music, tial sound but also its provocative image. Far- carried a camera around,” Nash recalls, “but I photography is a form rell’s risqué album-cover art helped put the never shared my images except with close friends.” band on the map—and got its records banned of universal by American chain stores like Wal-Mart At the urging of singer Joni Mitchell, Nash began Lou showing his photos in the ’90s; a traveling exhi- language that can (prompting generic alternative covers to be cre- bition was to be at the Morrison Hotel Gallery in ated by the Warner Brothers label). Founder of Los Angeles this summer. “This is a strange world communicate an the Lollapalooza rock festival, Farrell later to me,” Nash says of the gallery circuit. “I’ve reed headed the band Porno for Pyros and pursued a generated a certain amount of respect for doing array of messages solo career, but photography has been his abid- thoughtful work in music. It’s very different to open and can be a ing avocation. “My father had cameras floating yourself up to a different discipline. But I love around in his closet,” recalls the 48-year-old p o r t f o l i o Farrell (who lists his age as “timeless”). “I love it—and I’m learning more every day.” —jack crager © very powerful tool. lou reed (2) reed lou photos because, being that we are in constant motion, moments pass and then cease to exist ” again. The photograph suspends life for us. You

62 www.AmericanPhotoMag.com 64 www.AmericanPhotoMag.com © mick fleetwood (2) www.AmericanPhotoMag.com 77 need only to look to relive.” —j.c. Farrell and band during a video shoot. perry farrell (2) www.AmericanPhotoMag.com 71

left page # 62 right page # 63 left page # 64 right page # 65

left page # 70 right page # 71 NOTE: new hi res in file

p o r t f o l i o Clockwise An untitled p o r t f o l i o from here: shot from Fleetwood shot Johnny Cash, Lou Reed’s this field of New York. 1969; Joni Musical legacy: Leader of the Velvet Underground, poppies with a Perry Farrell’s Mitchell, © graham nash (4) godfather of punk and alternative rock. Photog- 35mm SLR. photo of 1969; Neil his wife, Etty. Young, 1970; raphy publications: Emotion in Action (2003), Lou Nash, 1974. Reed’s New York (2006). ★ Perhaps no single rock-and-roll figure is more closely associated Mick with New York City than Lou Reed. Spanning five Graham decades, Reed’s observant, provocative songwrit- ing has delineated the city’s street life in all its fleetwood grit and glory. Since the late 1980s, Reed has nash also been photographing on the wild side, usually focusing on urban scenes with various cameras, his favorites being Contax 35mm SLRs with wide- angle Zeiss lenses. “I have this really beautiful jewel lens that I treated myself to finally, after much wondering whether I should just wear it as jewelry or actually use it,” says Reed. “I’m a big fan of great engineering.” Having been published in a lavish 2006 book by Steidl (see Books, page 26), Reed’s photography is featured in an exhibi- tion that has traveled from Milan to Madrid to Pittsburgh’s Andy Warhol Museum—fittingly, as Warhol was an early mentor. Like much of his music, Reed’s visual work tends to be bold and Greatest hits: Multi-platinum albums Rumours experimental, melding dreamlike moods with (1977), Fleetwood Mac (1975), and Tusk swashes of streaming lights and dramatic sky- (1979). Photo exhibition: On view at Célébri- lines. “As with everything else I do, my photos are tés Galleries in Wailea, Hawaii, through about emotion,” he says. “When a photograph August, with a catalog published by Celeb- works, I have a bodily response. I don’t have to pub Inc. ★ Mick Fleetwood has been tak- think about it much. Just like with music.”—j.c. ing pictures since the mid-1960s, when the group he formed with John McVie was a hard-edged British blues band that sounded very different from the California pop sen­ sation it would later become. Drummer Fleet- “ “ wood documented the band’s journey with a A celebratory I think music and Canonet GIII compact rangefinder, a Leica moment. Music and photos are CL, and Nikon 35mm SLRs. “John McVie part of the same photography are part and I both got into taking photographs, and “ p o r t f o l i o of the same thing: thank God we did, because we have this Sound is a very subtle energy. It’s just, where lovely library of stuff,” says Fleetwood, now do I want to it’s rhythm, light, air, 60. “But about five or six years ago, I started form of energy. making photos as a sort of private project, Capturing this energy point this energy beam? movement, focus— all landscapes.” Fleetwood created an exhi- and more focus. bition of impressionistic, 14x20-inch prints. can even set the body “What I’ve always loved about music, and ” photography too—it’s all in the beholder,” says in motion—which makes ” Fleetwood. “And it’s about the moment, it’s for a good picture! Perry Bands: The Hollies; Crosby, Stills, Nash & Young. about the passion, it’s about doing something. Photo publications: Eye to Eye: Photographs by Just pick up the camera and start taking Graham Nash (2004); Nash Editions: Photography pictures! I tend to feel most proud of things ” and the Art of Digital Printing (2006). ★ Aside that are simply of the moment—I just sit Farrell from his music, Graham Nash can stake a claim on a hillside and think about what’s right and j c to fame as a digital-imaging pioneer: He was the what’s wrong, and there’s the result.” — . . d first person to use an Iris inkjet printer to create Bands: Jane’s Addiction, Porno for Pyros. Pho- friedman anielle fine-art photos. Nash Editions, founded in 1990 tography publication: Album covers for the by Nash and partner R. Mac Holbert, is the world’s above. ´ As the voice and leader of the pio- first fine-art digital printmaking studio. But Nash’s “ neering alt-rock band Jane’s Addiction, Perry love affair with photography began decades Farrell personified not only the group’s influen- earlier, before he became a musician. “I’ve always Like music, tial sound but also its provocative image. Far- carried a camera around,” Nash recalls, “but I photography is a form rell’s risqué album-cover art helped put the never shared my images except with close friends.” band on the map—and got its records banned of universal by American chain stores like Wal-Mart At the urging of singer Joni Mitchell, Nash began Lou showing his photos in the ’90s; a traveling exhi- language that can (prompting generic alternative covers to be cre- bition was to be at the Morrison Hotel Gallery in ated by the Warner Brothers label). Founder of Los Angeles this summer. “This is a strange world communicate an the Lollapalooza rock festival, Farrell later to me,” Nash says of the gallery circuit. “I’ve reed headed the band Porno for Pyros and pursued a generated a certain amount of respect for doing array of messages solo career, but photography has been his abid- thoughtful work in music. It’s very different to open and can be a ing avocation. “My father had cameras floating yourself up to a different discipline. But I love around in his closet,” recalls the 48-year-old p o r t f o l i o Farrell (who lists his age as “timeless”). “I love it—and I’m learning more every day.” —jack crager © very powerful tool. lou reed (2) reed lou photos because, being that we are in constant motion, moments pass and then cease to exist ” again. The photograph suspends life for us. You

62 www.AmericanPhotoMag.com 64 www.AmericanPhotoMag.com © mick fleetwood (2) www.AmericanPhotoMag.com 77 need only to look to relive.” —j.c. Farrell and band during a video shoot. perry farrell (2) www.AmericanPhotoMag.com 71

left page # 62 right page # 63 left page # 64 right page # 65

left page # 70 right page # 71 s Q&A Lou Reed

Many of the photos s there an essential connection in your New York book the year of the rockers I between rock and roll and pho- show the city in a tography? See our portfolio on page beautiful light; some five new photo collections 59. And check out these books. look like they weren’t Candid portraits are often a made in the city. Was Below: Andy function of access and chemistry. that intended? Summers’s Such is the case with Road Work: shot of Stewart Yeah, we’re always sur- Copeland and Rock & Roll Turned Inside rounded by the buildings Books Sting “dining Out (Hal Leonard, $30), by Tom here, but I wanted to out” on tour. Wright. A close friend of the Who, document some beauty. Wright photographed much of New York is always that group’s glamour and excess; changing, moment to he also toured with the Rolling moment, and we are Stones, Faces, Led Zeppelin, and this glorious island, and the Eagles, 35mm SLR in tow, we usually don’t think of recording madcap moments and it that way. You kind of trenchant observations. take it for granted. But A more focused sense of inti- if you do stop and look, macy underlies Patti Smith: American Artist (Insight Editions, it’s really an astonishing $40), by Frank Stefanko, who sight, every day. befriended Smith long before she Some of the shots became punk’s poet laureate. His are creatively blurred, book reveals Smith’s complexity, with streaking light with glimpses of a charismatic patterns. Is that but enigmatic star in the making. all done in camera? For an insider’s view of rock Yes it is. If you spend a stardom, Andy Summers mines lot of time doing that, his photo trove from his peak you learn that if you years as guitarist for the Police in move the camera a cer- I’ll Be Watching You: Inside tain way, it does certain the Police 1980-83 (Taschen, things. Like there’s one $400). This limited-edition tome where it made notes. I has fly-on-the-wall views of tour- thought that was amaz- ing mayhem and tedium, showing ing—all these musical the sparks and grind of being in notes dancing across such a creative, yet volatile, band. the Hudson River. An alternative view of the same group is in The Police, 1978 Do you still like to to 1983 (Little Brown, $30), by shoot from rooftops? photographer Lynn Goldsmith, I’ve been doing other who befriended the trio and shot things. I like variety. I portraits and live scenes as the put my pictures in a band conquered America. slide-show monitor on From another side of the lens, my Mac, with a Ken Lou Reed’s New York (Steidl, Burns effect, which $50), brings vivid skies and danc- can fool you into not

© andy summers andy © ing light patterns into cityscapes, recognizing your own capturing fleeting beauty with a photos. Every once in a rhythmic flow and suggesting that while I’ll glance at one sound, light, and vision are all before I know it’s part of a continuum. —jack crager mine, and it just kills me, it’s so beautiful. 26 inside photography www.AmericanPhotoMag.com

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