At Home In The Cherry Blossoms

Posted in Uncategorized with tags , , on April 16, 2014 by johnbuckley100

This couple was happy they could be there when the sun was bright and the weather warm, before winter came back and scattered buds everywhere. Leica M, 50mm APO-Summicron-ASPH, ND filter.


Woods’ “With Light And Love” Bends Just Slightly Beyond Their Prior Masterpiece

Posted in Music with tags , , on April 16, 2014 by johnbuckley100

Last time out, in 2012, Woods’ Bend Beyond shocked the Western world when it beat out Ty Segall to take Tulip Frenzy’s Album of the Year honors.  Maybe their amazing show at DC’s Red Palace helped sway the judges.  But as we noted then, Bend Beyond was one of those mythical Perfect Albums, as rare as a pitcher’s Perfect Game, with an astonishing sound and not a note out of place.

We saw them again in the summer of 2013, and they gave hints at what a good album With Light And Love, released this week, would turn out to be.  It is a bright, confident follow up to a masterpiece, and there is no let down, no disappointment.  Does that automatically make it, too, a masterpiece?  Not necessarily, though it means we have come to expect the extraordinary with Woods, and they seem perfectly at ease in delivering it.

With Aaron Neveu now a full-fledged member of the band, and we presume that’s Kevin Morby on bass — their photo on the Woodsist website does not have Morby, whose excellent solo album, Harlem River, was released late last year, but we think that’s him — the twin-guitar sound of Jeremy Earl and Jason Tavaniere continues to ply the line between the best Topanga Canyon 12-string chimes and the sonic-rocket-to-the-moon psychedelia for which their lives shows are so notable.  And Jeremy Earl’s voice continues to be a sui generis marvel, causing Robert Plant, Al Green, and the Dean Wareham of Galaxie 500 to all stand back, their mouths agape.

What’s different here is evident from the start, wherein album opener “Shepherd” has a pedal steel and Nicky Hopkins piano sound, a postcard from whatever country locale Woods has arrived in, far out of town and in touch with their Flying Burrito Brothers.  We suppose that Woods — a Brooklyn band that records Upstate — has a shorter distance to travel than Darker My Love did when they veered into chiming ’60s country rock with Alive As You Are ( another Perfect Album that took Tulip Frenzy Album of the Year honors.  And in fact, Tim Presley plays on this ‘un.) The country vibe sure is lovely, but better yet comes the Dylanesque “Leaves Like Glass,” whose instrumentation sounds like the tape was left rolling during the Blonde On Blonde sessions. We would dare anyone to listen to “Twin Steps” and not immediately plan on proceeding, with the missionary zeal of a programmed zombie, to catch this band live.  And while the 9:07 title track sums up this band’s virtuosity and complexity in spades, it’s “Moving To The Left” that harkens, ironically, to the right of the radio dial, where in a perfect world it would remain, being played over and over throughout the summer months.

This doesn’t mean we expect Woods to storm the record charts.  We’re both realistic and at completely at odds with the way hits are manufactured to by this time have hope that a band this fine will be properly rewarded in this lifetime.  We should note, however, that there is not an insurmountable difference between With Light And Love and a Broken Bells record; we could actually imagine a radio programmer listening to “Moving To The Left” and being inspired to do the right thing, his corporate masters notwithstanding.

Perhaps, you say, it is too much to expect that even a band that creates Perfect Albums can rally the masses.  Perhaps we should think of Woods like that restaurateur that has foodies flock from across the globe to eat in his 32-seat epicurean marvel, the strange combination of sea urchins and wholesome grains utterly beguiling, with a smallish but knowing army of disciples certain they’ve discovered something special, even if it would be hard to get everyone to understand.

No, we reject that concept.  Woods are a marvel, worthy of superstardom, and if you’ve yet to understand this, start here, With Light and Love.

And go see them next weekend, with Quilt, at The Rock and Roll Hotel in D.C.

Quick, Follow That Butterfly

Posted in Uncategorized with tags , , , on April 14, 2014 by johnbuckley100

Leica M, 21mm Summilux, ND filter, Color Efex Pro4.


Juxtaposition In The Nation’s Capital

Posted in Uncategorized with tags , , on April 13, 2014 by johnbuckley100

Different strokes for different folks.  Leica M, 21mm Summilux, ND filter.


Seeing The Cherry Blossoms Was Like Being In A Smartphone Commercial

Posted in Uncategorized with tags , , , on April 11, 2014 by johnbuckley100



Good Lord, is there anyone in America buying a compact camera these days?  Last night, in what amounts to our first annual People Taking Pictures Of People Taking Pictures Of People Taking Pictures Of… Themselves, we saw a fair number of folks out with their Canons and Nikons and, interestingly, Fuji cameras.  But where even three years ago we would have seen some tourists with compact cameras, last night all the action was in the Smartphone category.

Whether it was stalking the desired image with a Smartphone…


Or reviewing the image just taken with a Smartphone…


And whether one was taking a selfie…



Or trying to get everyone to cooperate with the family photo…


It was an exercise in iPhonography.  We can certainly accept that.  iPhones are excellent cameras, and the best camera is the one you have with you, right?

But we’re not sure we can go along with this…


All images Leica M with 50mm APO-Summicron-ASPH.



Happiness Is: Sunset In The Tidal Basin When The Cherry Blossoms Are Out

Posted in Uncategorized with tags , , , on April 11, 2014 by johnbuckley100

Leica M, 50mm APO-Summicron-ASPH.  People sure were happy.  More anon.


New Images Exhibited At The Stephen Bartels Gallery

Posted in Uncategorized with tags , on April 11, 2014 by johnbuckley100

Muslim Girl Bishop's Garden

For some months, we’ve been working on a series of images of people in the city who have snatched some privacy, some solace, some peace from their surroundings.  We have three such images on exhibition this month at London’s Stephen Bartels Gallery.  Check them out.  You may even find some photos you’d like to buy…



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