There were some photos that were part of the final cut but I decided to leave out of the final interview. In putting together the interviews and going through the flow and visuals, some of the photos didn't seem right as much as I liked them.
For example, the photo above is one of my favorites from the session and probably one of the very first photos I processed and had a guaranteed spot in the interview. Months later when I was finally putting it all together, it became clear that the more somber mood didn't reflect who Dale is appropriately in the context of the conversation we had. I automatically lean toward the more serious photos probably because it is part of my own nature so I have to check myself and make sure photos work in the overall project.
He has an amazing amount of books. Book envy right here.
Dale has a great, well cared for classic car. It happened to be out in the driveway the day I came over for the shoot so I couldn't resist a few photos. I took many but again, the photos seemed out of context with anything in the interview. Never being referenced, it seemed superfluous to put the photo in.
I still like this photo largely because Dale and I have a love for classic cars.
Dale and I connect with music and we're both guitar players so I made a point to take a few shots with him and his guitars but this is a shot that needed to be put aside. In the context of the interview and photo series, I included enough references to it.
The photo is a favorite because of how the light was coming into his studio at that moment.
As with most of the illustrators I know, including myself, artists studios are usually littered with knick-knacks that have some importance to the artist. In the photos I've taken thus far of all the illustrators, I find myself slowly rifling through all of the little toys and things wondering 'why do they have that?' Sometimes it gives a bit more insight into who the person is and where they came from.
I think I may have to include that in future interviews when I think about it.
Dale took this photo of me. The secret is out. The real reason why I was photographing at his house. :)
Dale sent me this photo and it took a while for me to figure out what to do with it. Since we talked about the Boston Marathon and his experiences, he thought it could add something to the interview. The photo was taken a few moments after he crossed the finish line and about two minutes before the explosions occurred.
It is a powerful photo in the context of Dale's story but I decided to leave it out. I didn't take the photo but also the interview took place a couple of years after the event and I thought it was appropriate to only have photos around the time of the interview. Maybe the photo might be overdoing it a bit.
I include it here now because Dale brought it my attention and in the context of his story, it is powerful to think about what may have happened if he was a bit of a slower runner. His wife and kids were in the precise location of where one of the bombs went off closest to the finish line. They left the area as Dale crossed the finish line to greet him as this photo shows.