'Doobie Brothers' Drummer

This man was introduced to me as the current drummer for the 'Doobie

Brothers' Band currently playing, with the band's head currently

living nearby in Santa Cruz. He had been 'performing' at night with

an impromptu 'street band' and had a rather lingering and malodorous

presence, but his right hand did suggest he made his living holding

drumsticks, so take it for what it's worth. Your ratings and

critiques are invited and most welcome. (If you rate harshly or

very negatively, please submit a constructive comment/Please share

your superior knowledge to help improve my photography.) Thanks!

Enjoy! John (information provided by other members, known to me, of

some reputation, who were in that 'street band')

This photo was taken in a restaurant booth across from a common table. That pizza restaurant has been featured several times before in my folders. You don't need a fancy studio to take a photo, I think, which is why this is marked 'street' rather than 'portrait'.

 

John

Very nice photo John, I like the man's hand,

almost looks like its painted.(good colors too.)

 

Who he is and what he does is insignificant to your well rendered portrait. The man's hand and face have great character that you've so well portrayed. The coloring is perfect; not too much color nor B&W. DOF is right on and thank you for sharing. Happy Holidays.

If you can believe, I had about 12 minutes as this man ate his pizza with two pickup friends to snap a long series of his photos as he sat across from me and he 'didn't mind' so off I went, using my SB800 flash with a bounce off the wall, right. The subtle tones are as much from the reflection of the flash's whiteness off the stained wooden walls as anything. Many were good; this was the most emblematic.

 

His hand certainly tells a lot about 'him' as a 'drummer' doesn't it? I'm told he plays wonderfully, and his presence at a pickup band on the downtown sidewalk indicates his drumming passion. (but he still needed a bath -- but then so did I, so it may have been the battle of the . . . you fill in the gaps!)

 

John

Happy holidays and welcome to these pages.

 

A portrait either can be viewed 'within the four corners' as a sole and separate work without context or a contextual work for those who know more, and I think this succeeds on either level (the info was for those interested in such things, of course, as I tend to share a lot, because that is my nature).

 

I finally have settled on Depth of Field for portraits, having previously kept it too shallow, and especially trying to keep the hand in focus it had to be a little more deep (I haven't a quick recollection of the exact depth of field but it's recorded on EXIF data I think).

 

What was wonderful about this was the shadowing or 'molding' (how well chosen a word with this particular guy -- maybe 'moldering' would be better) of his features by the sidelighting of the flash. The flash overpowered mostly the yellowing indoor lighting from the incandescent bulbs of this particular pizza restaurant which I know well. (I usually have to convert to B&W when I shoot there because a digital camera view just cannot be converted to usable color because of bad 'hues and color casts' from the incandescent and other lighting, all mixed).

 

I am pleased more and more with sidelighting more and more as I review the photos in my folders and portfolio and am beginning to choose it when there is some sort of 'character' that needs to be portrayed. (See my single photo folder -- 'There's a Jaguar on the Loose' which is taken in an outdoor shopping mall, but completely sidelit for a good example. (The 'jaguar -- actually a large photo -- appears to be 'chasing' the two guys, who feign fear')

 

If given a commercial assignment without any lights at all, I would take a person indoors from a main window, and use a reflector to fill in the poorly lighted portions away from a window/door, and use natural sidelighting, I think -- for a portrait showing character.

 

(I'm learning, I think, and it's comments like yours that focus me.)

 

Thanks.

 

John (Crosley)

John, thank you for sharing your techniques and thoughts about doing portraits, I've avoided doing them because of a lack of knowledge about lighting. I've noticed your work in the past but because Portraits aren't really my area of interest I've been neglectful on posting comments. Pity, because I see many wonderful "people pictures" here on PN, lots of creative and talented photographers doing some amazing work. It's interesting, to me, to see how your work has evolved over time. Learning is and should be a life long process. Just looking at the imagery here on PN has expanded my vision and knowledge.

Susan, one of the wonders of 'sharing' on Photo.net is that one can learn much quicker with help than on one's own, although just by looking at wonderful images one can learn more quickly.

 

Thanks for the thanks. I wish more of the good photographers would share their 'secrets' or methods. Maybe they're 'word challenged' as not all photograher are so articulate as I -- I once was a writer.

 

;~)

 

John

This image has not appreciably been Photoshopped. That is to say, although contrast and levels have been slightly 'enhanced' nothing else has been done to it -- it is essentially as it appeared on the camera's digital screen at time of taking.

 

John

The hand has its own life... telling something about the man's history.All together a very expressive portrait.Pnina

Pnina, looking at the joints, one wonders whether he's got rheumatoid arthritis or some other imflammatory joint disease or just inflamed joints from too much drumming. I saw him periferally as I hobbled by earlier on my way to the nearby Borders where I surveyed their huge selection of photo mags and huge supply of new photo books, but hadn't noticed his drumming.

 

It IS an expressive portrait AND hand; I agree.

 

 

Thanks for stopping by.

 

John

John I like this portrait -- very strong character comes through here. However I must say, I don't appreciate your discussion here where you reference several times his poor personal hygiene. It seems very disrespectful and rather irrelevant. Seems to me he rather did you a favor by allowing you to film him. Too bad you ended up treating him this way...

That discussion may, however, be relevant, if he turns out NOT to be who he and other say he is supposed to be. I like to measure the quality of information I give others so they can make informed choices about whether to believe it, and I must say, that under the circumstances I have some interest in how to reconcile the job versus the hygiene. (for instance, is he a homeless person, as there are many in Santa Cruz who look and act like him -- and yes, smell, also -- and some with great talents. It's sort of a Santa Cruz 'alternative lifestyle')

 

Recently a young Santa Cruz woman showed me a wristful of bracelets and when queried about them boasted that each was representative of a group that would help her if she were essentially 'down and out' -- they were 'communities' of 'help' within the Santa Cruz subculture that escapes notice by those who do not take the time to ask questions such as I do.

 

So, as the French say, peut etre vous avez raison. . . . (perhaps you are correct. . . . and I wonder that myself, as I'm not hell-bent on 'dissing' anyone.)

 

John

While I liked the lighting (and color) of this portrait very much, its viewership on Photo.net's audence has been overwhelming within just less than a week, and climbing continually.

 

Perhaps it's because of that 'Tiffany Araluce' appearance look of more somber darkness in the subject, making it look like he's got a darker side to him.

 

Actually, what may be the surprise is the almost Renaissance look to this man -- a sort of Rembrand van Rijn darkness -- sort of Dutch Masters (not the cigar stupid -- the school of painters).

 

I'm not known for creating dark, brown portraits with sparkles of light, as the Dutch school of portraiture required, as this seems to echo.

 

Surprisingly Vincent Van Vogh was trained in producing brown, dull 'Dutch' school paintings and portraits, but he escaped to Paris and came under the influence of those who believed in expressing life through 'color' and 'voila' the rest is history.

 

Although troubled, color led Van Gogh to great success in painting; at least as we view his work in retrospect. Deeply troubled, however, he took his own life; something deeply misunderstood, hounded and troubled people do from time to time. . . .

It is part happenstance that this 'hand' is portrayed so prominently in this photo and partly because of good photo editing.

 

The editing part is 'guitarist' > uses hands > contorted hand capture in foreground in good capture > the hand should show prominently.

 

The use of the hand was not 'planned'.

 

In fact, this man's life revolves around his hand, and it was 'on display', as it were, something that either was up for 'display' or being shown on the table top because it 'hurt' or was otherwise in need of attention.

 

No matter why, it became part of the portrait.

 

I had several such portraits without the hand, but this seemed to epitomize the guy who was introduced to me as a 'drummer' -- 'drummer' was the essence of his 'character' and this showed it well.

 

Further thoughts.

 

John

 

John, his hand looks like a hard field worker life, and not a drammer,but who really knows...

I understand your point, but field workers (there are many near where I live) often have very 'thick' hands, and his are thin and bony. But then again, there are all kinds.

 

Nice to see you stop by.

 

John

I talked to George tonight (he told me his name or I overheard it) at a local get together on a local downtown Santa Cruz avenue where musicians simply join together and 'play' and often some wonderful stuff by some very talented musicians.

 

George played his sticks on bongos on the sidewalk and is an accomplished drummer whether it's Moody Blues or Jefferson Starship.

 

He wondered if I published his photograph 'in the newspaper' and I said truthfully 'I don't work for the newspaper', but his acquaintance told him about this web version, so he may see this.

 

George said he still drums for the same band, and that in early August they're going to a Biker Ralley at Srturges, South(?) Dakota, where the Doobie Brothers are to play, along with about 15 bands total.

 

'I'm gonna make big money,' this street drummer told me. When I asked him how much, he replied '$600 to $700' for the gig.

 

Seems like not much for an essential band member for a name band for a gig between 1,500 and 2,000 miles away, probably involving overland travel there and back (but who knows), hotel stays, eating away from home (if he has a home), and probably the better part of a week. I didn't tell him that because it's not my place, and who knows if he even knows how much he's getting paid?

 

(or even if he's on some public assistance besides for which that extra would seem like a princely sum. . . . )

 

But 'George' definitely has been around and is well known in musician circles -- there are lots of musicians (also actors, celebrities) in the local area -- as well as a large number of 'name' artists -- this is an 'artist's commnity, and 'George' is just one member.

 

 

The problem is that unless you're Thomas Kinkaid, artists generally don't make a lot of money from their work, and those who do, generally end up being regarded like I regard Thomas Kinkaid, a man who one gallery owner (there are two around who have peddled his works full time until recently) told me, has 'apprentices who *finish* his ideas after Kinkaid sketches out the concept, and those apprentices follow his tutelage (paraphrased, but you get the idea -- in other words, a Kinkaid is not a Kinkaid -- it comes from his 'studio' and he 'supervises' a group of 'factory' artists, if one takes what that gallery owner (who claims friendship with Kinkaid) told me as correct.

 

 

At least 'George' depicted here, deals in genuine music -- there's no faking a 'beat' for a band, no matter how little or much he's paid, and 'George' certainly is talented. But then, many musicians would have a difficult time holding a candle to some of the 'street musicians' who ply the 'street singing' and 'street music' ways of Santa Cruz -- if one listens carefully, there's some world class music sometimes (mixed with rank amateurs out for a night of fun, and all are welcome).

 

Last night I met a man known as 'The Bear' because, as he says only a 'bear '*hits in the woods' and that's apparently where he lives and does his 'toilet' -- and as he explained 'no electric bill, no phone bill, no bills at all . . .' -- a former general contractor who a decade or so ago quit day-to-day 'normal' life after his wife ran away with a 'speed freak', and adopted the street life -- but who also, at 54, who has sung since age 14, when he sang his first county fair, one of an indeterminate number -- a first class singer with professional delivery, a man who may indeed be a legend (but I just don't know it).

 

He's a world class singer, and his only audience is the occasional passerby, such as me; The smart ones stay and chat while he narrates his tunes with his life's story, all for free (or a buck or two if you've got it, but hey . . . no pressure . . . this is Santa Cruz).

 

John (Crosley)

I've talked further with 'George' and found that not only is it his true name, but he had indeed played at the biker rallye in Sturges as he said he was going to.

 

He talked to me after a night of drumming on the 'street' -- a usual nightly get-together for local musicians. He certainly is talented, and singularly interested in music and not much else and definitely NOT cerebral.

 

But he certainly seems authentic, so any aspersions as to his authenticity seem dispelled. George now says he's headed to Florida - Daytona -- to play for Spring Break, no matteer that it's September and Spring Break doesn't occur until April. He says he's leaving within a month???? Well, that's what he says and that's his stated reason.

 

I don't argue or explain with 'George' -- I just listen -- it's the price for hearing his wonderful talent, and no use in trying to make sense of what he says; that's for his close friends who know him well.

 

John (Crosley)