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 plans, vision boards, notes, interview questions, schedules, and everything he produces to make a shoot come true.
Watch the films