Aidin Vaziri | Graham Nash is trying to talk about his photographs. Standing near the entrance of the San Francisco Art Exchange on a recent bright morning, he makes his way to a candid black-and-white portrait he had taken of Joni Mitchell, shot through the back slats of a wooden chair in 1969 when they were an item.
“I never take snapshots,” Nash, 71, begins. “Every picture is deliberate – and the reason I took this one is because she’s a beautiful woman.”
Before he can elaborate, Nash is approached by a fan in the gallery who wants to lament the lack of contemporary protest singers in the Occupy Movement. Fair enough. But we have a lot to talk about.