Steve's Field Notes
Behind the shoots. First person. Dated. The tape, the tent, the line we killed. Not a recap of the film.
Contact sheet
Notes
Connecticut woods · 2025.11Blitt: there is not really much magic. Lots of aches. You should probably get some goggles.
The place →
Connecticut woods · 2025.11The tragic happens at the desk. The party, the jail, the dead first president. Watercolor, a little wet, almost polite.
The place →
Connecticut woods · 2025.11The room is the joke. Washington is just attending. If the party looks like a wake, that is the point.
The place →
New York · 2025.09Abe calls the tent an image bakery. The cake cooks while the city falls on the floor.
The place →
New York · 2025.09ISO 400. Two minutes. No wind. Wind is the enemy. The room is the camera.
The place →
New York · 2025.09Times Square on a bedspread, upside-down. Nobody talks when it first appears. That silence is the review.
The place →
San Clemente · 2026.02He made the first twenty with hand tools because the shop selection felt like a closed argument.
The place →
San Clemente · 2026.02If a sculpture has to work in eight-foot surf, the decorative argument is over.
The place →
San Clemente · 2026.02The showroom is a lie. The work is in the bay behind it, under the dust.
The place →
Aarau / Connecticut · 2026.01The explosion is a fiction. Thousands of stills. A car that only dies on the lightbox.
The place →
Aarau / Connecticut · 2026.01Black Hole is acrylic on a rod spun by a drill until centripetal force writes a galaxy.
The place →
Aarau / Connecticut · 2026.01You can count the months in the fragments. That is what a high-speed camera would have stolen.
The place →
Venice, CA · 2026.03Venice light is a cliche until you have to expose for it. Then it is a problem, which is better.
The place →
We left one line in and killed three. Member desk has the ones that did not survive the woods.
Extended sit-down on why a pinhole is older than photography and still more honest than a lens. Members.
One day on the shoot
- 07:10
Woods
Frost on the driveway. No crew circus. The joke does not like an audience yet.
- 09:40
The table
Crumpled covers, a jar of brushes, the Washington that will not sit still.
- 13:20
The claw
He talks about power as a performance for the nervous system, not the argument.
- 16:05
That's the shot
Liberty on a cell wall. We hold. We do not explain it in the room.
- 21:30
Cut
The line we left in. The line we did not.
One day on the shoot
- 06:40
Blackout
Tape, foil, the last slit of Times Square. The room has to die before it can see.
- 09:10
The hole
A pinhole. That is the entire lens package.
- 11:00
First exposure
The skyline arrives upside-down on the bedspread. Nobody talks.
- 16:20
The frame that survived
Manhattan Bridge, chairs, a city that thinks it is still outside.
- 22:00
Why we almost killed it
A leak of light the size of a coin. We found it with a phone.
One day on the shoot
- 08:00
The shop
1709 N. El Camino Real. Foam dust in the light.
- 10:30
The blank
A board starts as an argument with gravity.
- 14:00
Color as edition
Glass jobs that would get you thrown out of a plain-wrap factory.
- 17:40
The test
It either draws a line in water or it is a poster.
One day on the shoot
- 09:00
Disassembly
A scale Ferrari comes apart piece by piece. This is the boring part. It is also the work.
- 13:00
The grid
Each fragment photographed as if the blast had a timetable.
- 18:40
Rebuild
The picture is the explosion the car did not get to have.
One day on the shoot
- 10:00
The studio
Canvas, street, a door that stays open on purpose.
- 15:30
The sitting
We stay until the paint stops performing.
Coming soon
Steve's desk, the contact sheets, and the days on the shoot. Opening when the notes are ready to leave the bag.
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