Death Valley intensity

Spent the morning yesterday in Vegas at the Neon Boneyard. Of course, every fashion photographer in the western hemisphere has shot there, but I just wanted to see the Type in person. You sign up for a Tour at 10am, and the guide was very well-informed, and told some great stories about the history of LasVegas. Vegas has never been my cup of tea — my limit is about 48 hours, or else I turn into Nicholas Cage, and spin into a downward spiral. The whole place is just creepy. I’m not a drinker, nor a gambler, but I love the whole 50’s Rat Pack mentality. The history. And that The Mob really built that place, in cahoots with the government.

The tour wrapped about eleven AM, so I headed north on 95 toward Death Valley. Spent the day completely in awe of the place. Looked up at the thermometer at about 4pm and it read 110 degrees. I walked a long way across these sand dunes, looking for a nice sunset image, but never really put it all together. But it was a nice walk, (in 110 degree heat). I got there too early for the light. The light is only good between about 7:45 and 8:15pm.

Stayed last night at this great place, (great, as in funky), called the Amargosa Opera House and Hotel. Smack dab in the middle of nowhere, but by God it has an Opera House. Great little room with tile bath, no TV or phone. Nice cafe. Up at 4:30am today to drive back to Badwater for the sunrise.

Anyway, posting one image because the internet is funky in this cafe in Shoshone, Nevada, (or California). Not sure. This is one image from a three-frame stitch, so it’s not finished. If you’re at all into Type design, you’d just love this Boneyard Place:

One frame from a stitched image (to be done later). Neon Boneyard, Las Vegas.

Two updates below, after originally posting:

I read this thing on Susana Raab’s blog, about Martin Parr’s talk in Charlottesville. I’ve never been a big fan of Martin Parr, at all. But I like some of what he’s saying here, about not repeating yourself, and about not always trying to do “good photography”. I wish I’d heard the talk, so I could have heard it in full context. I will now pay more attention to Martin Parr. Here is the direct link. I also like how he has a different set of rules for commercial shooting than for his personal work.

I feel obligated to spread the word about Larry Brown’s fine book “Father and Son”. There must be something in the water, in Oxford, Mississippi.