For me, Tom Verlaine is probably the finest musician to emerge from the New York ‘70s/’80s punk scene. I bought all of Television’s albums as they came out and also picked up on his work with the Patti Smith band and solo work. His unique style on his signature Fender Jazzmaster axe is best heard on ‘Marquee Moon’ or ‘Persia’, tonal explorations with sonic resonance. The one-off Television gig at MONA was jammed but I had arrived early enough to get a place right on the security rail of the small stage area, with Verlaine just about two metres from me. Verlaine is not a leap-about and pose axeman — rather a contemplative string-bender with an intense singing style. Shooting him with a fast lens from close range was a delight.
Tom Verlaine 2013
20 in stock
20 in stock
Working in newspapers there and in Swaziland taught him a range of photographic skills —shooting, developing and printing a photo in under 45 minutes, or less, and tackling any subject from portraits to beauty pageants, soccer, motor sport, boxing, ghetto jazz and rock musicians, and street life. Most of that was black and white work, with an occasional roll of slide film for special projects and artistic exploration. He upgraded through 35mm SLRs to Leica rangefinders and various lenses. He still enjoys using older lenses, mostly Leica and Canon, to explore subjects and qualities of light.