In 2005 I began shooting again. I was motivated by a combination of things, but the largest single factor was discovering that I was going to be a father for the first time.

Over the years I had evolved from being solely a photographer, to a Grammy nominated filmmaker, to an author (at that point of one book, "Dear Mr. Fantasy", although I was in the middle of LET IT BLEED, since published), to a creative director for a company that specialized in the creation and networked delivery of interactive video. I was interested in all of these things. But when I spoke to my friends about what engaged them, the enthusiasm for the still photographs was very compelling, so I decided to revisit them, with a plan to begin exhibitions, work on books, and shoot again. This was in 2003, and I held my first solo exhibition that year (See "News and Exhibits").

Meanwhile, technically, photography was in the middle of completing its transition to digital. I was comfortable with computers. (My first operating system, CP/M, preceded Bill Gates' purchase of DOS). I had been using digital effects in video since the late 80s. But circa 2005 the tools seemed - at least to me - finally ready for prime time. The file sizes were (just) large enough to produce the photographic prints that are part of what I do. And the frames per second - while still not at the rate of still film cameras (while simultaenously providing the large file sizes I needed) - were creeping up there, 3-4 fps. So I switched.

There's a lot to like about digital, which I now shoot exclusively. The visceral surprise (as opposed to any techical considerations, or what you might think about digital) came when I viewed two large portraits of mine hung next to each other in one of my exhibits. One was of Mick Jagger, 1969, and the other of Chris Cornell, 2005. They were both beautiful prints. It wasn't a matter of quality. But as I looked closely at them both, and then looked at a person standing next to me, I noticed something that came as a surprise. There was nothing between me and my neighbor, as there was nothing between me and the portrait of Cornell, just air. With the Mick Jagger portrait there was a slight layer of grain. I had always "liked" grain, in some cases choosing to emphasize it as a stylistic choice. But all of a sudden it seemed like an artifact, and digital took on an immediacy that I found I liked.

I first shot Audioslave - a group made up of members from Rage Against the Machine and Chris Cornell from Soundgarden - and then shortly afterward Rosanne Cash. It felt good to be back at it. I then was thoroughly consumed finishing LET IT BLEED (see above) and the many exhibitions that have gone with its release. I intend to be back at it, and inquiries about my availability can be directed to me or my producer, Andy Caulfield, at andy@andycaulfield.com.