I cropped these vids to the same 3:2 ratio that my still images have. That is the ratio of 35mm film, 36mm wide by 24mm high. Play one after another or start them all up! (((in that case it is best to press play and immediately press pause, so the video can load fully before you start them all up!)))
The link in the first comment leads to this Drunken Master video.
This is a piece I wrote for The Scent of Light. Since it soon became clear that I had more music than would fit on a CD I didn’t end up finishing this one. The title is Two Sisters: Hope + Sorrow, and I wrote it with Rahim’s Iraq in mind. In fact I was going to ask him to play an oud solo after the bass solo, and then I would have recorded a guitar solo after that. This is a rough mix of an unfinished recording, but you will recognize the beginning, which we have played as an introduction to Duende del Amor (from Solo Para Ti) for a few years now.
You can download the 320kbps mp3 file here. As usual, the link expires after 60.
Just arrived at home. Monday’s music will be delivered on Tuesday this week.
I was inspired to do a little homage to Ozu, a Japanese film director known for his low angles, in Houston yesterday evening. I first discovered Ozu through the documentary Tokyo-Ga, which I found on Netflix. Tokyo-Ga is a 1985 documentary film directed by Wim Wenders about filmmaker Yasujiro Ozu. I used a fully open aperture of 1.4 on a 46mm lens (adjusted for sensor size), which caused sheets of focus. For me these images have something magical about them. Blurry foreground, then a narrow field of focus followed by a blurry background. Like the past (blurry), the present (sharp) and the future (blurry). Or like a thought lighting up a field of attention. I set the camera on the ground, guessed at the focus and captured the image, then viewed it on the camera’s screen. Sometimes I had to repeat the process a few times until the image was composed to my liking.
The last photo in the previous series inspired a little homage to Ozu, a Japanese film director, known for his low angles – he had to customize tripods to fit his needs. I first discovered Ozu through the documentary Tokyo-Ga, which I found on Netflix. Tokyo-Ga is a 1985 documentary film directed by Wim Wenders about filmmaker Yasujiro Ozu. I used a fully open aperture of 1.4 on a 46mm lens (adjusted for sensor size), which caused a sheet of focus across the image. For me these images have something magical about them. Blurry foreground, then a narrow field of focus followed by a blurry background. Like the past (blurry), the present (sharp) and the future (blurry). Or like a thought lighting up a field of attention. I set the camera on the ground, guessed at the focus and captured the image, then viewed it on the camera’s screen. Sometimes I had to repeat the process a few times until the image was composed to my liking.
