Zack Arias: Transform

Temptation Waits

I'll tell you something
I am a wolf but
I like to wear sheep's clothing

I am a bonfire
I am a vampire
I'm waiting for my moment

You come on like a drug
I just can't get enough
I'm like an addict coming at you for a little more
And there's so much at stake
I can't afford to waste
I never needed anybody like this before

I'll tell you something
I am a demon
Some say my biggest weakness
I have my reasons
Call it my defense
Be careful what you're wishing

You are a secret
A new possession
I like to keep you guessing

When I'm not sure what I'm living for
(When I'm not sure who I am)

When I'm not sure what I'm living for
When I'm not sure what I'm looking for

(Garbage)

Spring Issue out

The Spring 2010 issue of Carrie Leigh's NUDE is off to press! You can pre order a copy at http://www.carrieleigh.com

Top 13 ways to piss off a photo editor

When photographers get together, they tend to talk about two things: camera gear, and working with photo editors. But what many photographers don't realize, is that when photo editors get together, they talk about YOU.

There are only two proven methods that you can use to ensure that your name comes up in a conversation. Do something really amazing, or do something that pisses them off. You really don't want to find yourself part of their conversation for the latter.

"Remember that photo editors know other photo editors, and a good photographer will be recommended, while a photographer that blew a shoot, was a pain in the ass to work with, or was just generally unpleasant for the photo editor and the subject to deal with will find themselves without work," said Stella Kramer. "A bad reputation is not a plus, especially in this economy."

1) Don't do your homework.

The most immediate and universal tactic you can use to piss off a photo editor is to avoid doing any of your own research. In fact, you should treat a busy photo editor as your own research assistant whenever possible. This will ensure your spot on his/her shitlist.

"Asking me to call photo editors of OTHER magazines on your behalf, to recommend that they meet with you." - Roberto De Luna

"Sending me work that is not appropriate for my magazine." - Whitney Lawson

"Contact me saying you love Wired and would love to shoot for the magazine. Do your homework. I am the photo editor at Wired.com. After I tell you I am not the photo editor at the magazine, then have the gall to ask me who is." - Jim Merithew

2) Be disrespectful.
It's totally OK to be rude and pushy just as long as you get what you want out of the assignment, right? Absolutely! If you want to piss off a photo editor and everyone else that he/she works with, you should be as disrespectful as possible to all of the people that the photo editor depends on to do their jobs.

"Don't burn bridges-- just because you'll only be shooting someone or something once, doesn't make it ok to piss off PR people, subjects, security... we have to work with these people all of the time. Photogs working for SI represent SI. End of story." - Nate Gordon

"Pissing on Junior Editors (ie. Not paying attention to them or giving proper respect to lower staff.)" - Ryan Schick

3) Don't keep your word, or follow a plan.
Before the assignment, be sure to develop a plan of attack with the photo editor - and then, without warning, change that plan on your own and let the photo editor sort it out after the fact. They'll get good and pissed off, especially when you hand them the resulting images that they (and the rest of their staff) are totally unprepared for.

"Check with me before abandoning our pre-determined plan. If you're gonna try to get a high risk/high reward type shot, give me a heads' up before hand." - Nate Gordon

"Follow our pre-arranged workflow. If we decide you'll ftp, ftp. If I ask you to send your whole take, don't edit it down." - Nate Gordon

You could also employ a smoke-and-mirrors plan after the assignment, and hope that the photo editor doesn't notice that you didn't follow the plan. This could be a nice way to waste his/her time and add a bit of frustration as well.

"Sugar-coating" - If you didn't get the shot we were going for, let me know right away, before launching into your rant about how great some completely different shot is." - Nate Gordon

4) Make it difficult to contact you, and lack communication skills.
Here's a great way to get a photo editor in a pissy mood - make a game out of contacting you. Hide your contact information somewhere in your website (or don't include it at all), and make it a challenge for them. Since they don't have any free time at all, they'll get angry fast when you've effectively wasted their time.

"Do not respond in a timely matter...sometimes, DO NOT respond." - Leslie dela Vega

"Make it difficult for me to get in touch with you, like not having your contact info on the front page of your website." - Jim Merithew

"Don't have your contact information easily accessible (not just a link to email you - I might need you right now.)" - Phaedra Singelis

"Change your phone number without telling me - or move or go on vacation or on a out-of-town assignment without notification. I need to know where you are." - Phaedra Singelis

Here's a tip for extra help in pissing them off: Don't use the normal, typical, boring methods of communication. Email is far too effective, and won't piss off an editor. Instead, find new ways to send them a message.

"Using Facebook for professional email correspondence (additionally, spamming someone multiple times to join your Fan Page.)" - Ryan Schick

Why bother letting a photo editor know about something if you know that they'll eventually find out about it later? A good way to piss off an editor is to put them in an embarrassing situation when they first learn about problems encountered during a shoot from someone other than you.

"Have a problem (miss a flight, lose your equipment, argue with the subject, etc.) and not notify the photo editor immediately." - Stella Kramer

5) Hound and harass them with phone calls and emails.
You should do whatever it takes to make extra double sure that you're top-of-mind with a photo editor in the most annoying way possible. Making non-stop phone calls and sending a steady stream of emails can be an effective way to get under their skin.

"Don't hound me on the front end of a shoot when you need me to get credentials, parking passes, photo positions, assistants, equipment, etc.. and then disappear when I need something from you after the shoot... I hate it when a photographer drops a barrage of calls on me before the shoot and then goes into hiding after. Give me a recap. Don't disappear. Don't hound." - Nate Gordon

"Be high maintenance--I don't want dozens of calls from you while you're on assignment, or after I've met with you and reviewed your portfolio" - Stella Kramer

"DO NOT continue to call me and leave messages on my voicemail, If I don't answer, you know why!" - Leslie dela Vega

"Call too much or keep me on the phone too long - we're all short of time, so be brief." - Phaedra Singelis

6) Lack professionalism.
To get your relationship with the photo editor off to a most awkward start, you should immediately treat them as if you've been friends for years. Send them messages that contain jokes, use all lower-case letters, and typing shortcuts. ("yo! i m here 4 u 2!")

"Addressing me as if we have met before when we haven't ("Heeey, how are ya'?!")" - Whitney Lawson

"Trying to be 'cute' in an email. (Be professional, first and always!)" - Ryan Schick

You could also keep them in the loop by sending them not just portfolio images, but also personal ones. They'll get really pissed when they waste some time looking at pictures of you on the beach in a bathing suit.

"Sending me vacation photos!" - Whitney Lawson

7) Have a bad website, or no website at all.
Everyone knows that a website is a really important tool, and photo editors have come to rely on a photographer's site. So another quick way to piss them off is to put an ineffective website between you and a photo editor. Make sure it loads slow, is built entirely in Flash and has plenty of animations all over the place. Make sure your navigation is cryptic, and make it really difficult to find your contact information.

"Using really elaborate flash animations on your web site. I've never met a photo editor who likes this. Clean and simple is best. Sorry, tough love." - Whitney Lawson

"Make me watch auto-playing slideshows on your website instead of being able to click at my own pace." - Phaedra Singelis

"Have bad website navigation." - Ryan Schick

"Don't list the city you live in on your website." - Phaedra Singelis

Or, better yet, save a few pennies and don't have your own website. Using a free service as your portfolio will surely put them in a pissy mood.

"Using Lightstalkers/Flickr as your portfolio." - Ryan Schick

8) Don't supply important information, but if you do, make sure there are plenty of errors.
Make sure you create extra work for the photo editor. Leave it up to them to get caption information and other things of importance. You are being paid to take a picture, not write a caption or gather information - right? Maintaining this attitude can be a fantastic way to piss them off to your heart's delight!

"Don't be a journalist. Don't collect information. Don't ask questions. Don't get quotes. And please get the facts all wrong." - Jim Merithew

"No caption information, and misspelled names." - Leslie dela Vega

"No location information in intro emails or on your website. (Really, really!!)" - Ryan Schick

"Make caption errors that I will later have to write corrections for (Always write down your subjects' name, then show them what you've written. You'll never get it wrong if they see what you've written)." - Phaedra Singelis

"Metadata M.I.A.; With so many files to deal with at any given time, metadata (specifically IPTC core data) is crucial. It looks pretty unprofessional if the photographer doesn't know how to include a "©" and copyright notice - let alone the subject ID and details." - Hali McGrath

"Simply providing a link in an email with little to no context, "Here is some recent work"... (of what!? do we really have to discuss the necessity of who/what/when/where..?)" - Ryan Schick

9) Send a non-personalized form letter or email.
All photo editors are the same, and they do the same job, so you might as well save some time and send the same email to many photo editors. It saves you time, and since this tactic is blatantly obvious, it will give them a less than favorable impression of you right away.

"Generic promos (not personalized, emails that contain text with formatting that was cut and paste from a previously forwarded email, inconsistent formatting. You are presenting yourself to represent our brand.)" - Ryan Schick

10) Miss deadlines.
Let's face it - editors are locked away inside of an office and have no idea what it's like out there in the real world - so deadlines are flexible, and based on YOUR schedule and circumstances. This kind of attitude will put you directly at the top of their shitlist.

"Be on time, and don't ask for a deadline extension unless your appendix bursts." - Roberto De Luna

"Miss the deadline for filing." - Phaedra Singelis

11) Complain.
You should complain about everything possible, and expect the photo editor to fix everything. Be as negative as possible, and blame everyone else (including the photo editor) when things go wrong. Bring nothing to the table on your own, and never solve any problems by yourself.

"Complain about the way your photos were used in a story." - Stella Kramer

"Argue with the photo editor--it will give you a bad rep." - Stella Kramer

12) Be a flake.
When you agree to take on an assignment, and a photo editor is depending on you - treat it as if it was "optional." This way, if something else comes up that's better, cooler, pays more, or is more fun, you can go in a different direction right until the last minute. Don't worry about them - it's their job to have a backup plan!

"Assignment Flakes; either bowing out the night before an assignment (leaving no option to reschedule) or bailing after arriving on site." - Hali McGrath

13) Have a huge ego.
If a photo editor comes to you, and wants to hire you for a job, it is perfectly acceptable to use this as an ego boost. Photographers are creative individuals and it's totally fine to be picky, demanding, and rude. After all, they came to YOU so they should work extra hard to make sure you're happy.

"Be difficult to work with, uncommunicative and egomaniacal." - Jim Merithew

If you have no experience in a specific area required for an assignment, it's OK to pretend that you do. After all, you're super talented, and can shoot anything.

"Lie about your abilities--this will kill your career." - Stella Kramer

Once you've completed the assignment, make sure the photo editor knows just how brilliant you are, and how you saved the day with your brilliance.

"Don't tell me how hard you worked... that's what's expected of you." - Nate Gordon

(by Grover Sanschagrin, www.photoshelter.com)

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Well....my thoughts on this

Most of the things above are true and if you follow them, you will be on a safe side to get the job done and they will call you again for the next one. But despite of this is some very good info, some is questionable as far as what can be said.

If we put some honesty in it, how many editors are outside who can easily piss of photographers? Many! Especially when they are riding on their high horses.
I had and have to deal with some of those kind of editor often.

A good photo editor knows the photographers work, knows what they want from an assignment, lets the photographer run with the ball, and does not try to micro manage them.

And experienced photographers knows when a photo editor is green...as we say....

"Respect goes both ways."

Black & White Night 1.Mai

Some impressions of the Black & White Night 30April/1.Mai from the Black Seven Gang, Germium MC, Karlsruhe. Great bikes, people and music. And of course a lot of fun.

The Magic of You

A nice shot of Isabelle in the studio.


Model: Isabelle
MUA/Stylist Anastasia Balko

Into Dust - Mazzy Star

Photo Shoot with Brian To

Photo Shoot with Brian To from Drew Maw on Vimeo.

Photo Shoot with Elijah Star

Photo Shoot with Elijah Star from Drew Maw on Vimeo.

Snapshots in the Afternoon by Mike Kobal

Snapshots in the Afternoon D90 from the talented photographer Mike Kobal on Vimeo.

Some changes...

At first, I modified my website. It's now in black colours, clean without any graphics and with flash based galleries. I like the design and I hope you too. I axed some domains, like the avantgarde-atelier domain, which is now history and a few others. I focus on my maindomain only.
Currently I do some work in the new studio for Zakis gallery in Amsterdam. I plan to do a ride to the US in summer this year.

Photographers documentary

Photographer's Style - Documentary from Drew Maw on Vimeo.

Eugene Biscardi

Photo Shoot with Eugene Biscardi from Drew Maw on Vimeo.

Great videos made with DSLRs

Canon 1D mark IV...maybesomesunwilldomegood from gnarly bay productions, Inc. on Vimeo.

A Canon 7d Short: Winter from gnarly bay productions, Inc. on Vimeo.

Sheer Issue by sheridan de myers

Fashion 156: Sheer Issue from sheridan de myers on Vimeo.

A 645 with a Leaf back

I decided to get a Leaf Aptus II combination in the beginning of 2010. I need a good resolution camera with 12 stops dynamic range in 4:3 format. While the Leaf produces some not so accurate colors, it produces far superior skin tones than the Hassy or Phase One counterparts and presents a nice transparency-like image, exactly what I need. It’s software is also extremely easy to use, also the new Phase One 5 is included in the package. What get lost in accurate color rendition it more than gained back in speed of workflow and skin tone feel. Also the big touchscreen is nice thing to have, although I shoot the most of the time tethered to the computer.


The Leaf Aptus II is the best overall choice for me on the playing field outthere. I will hopefully testing the Leaf at my next shooting in Poland.
I really love the 4:3 format and want also add a 4:3 SLR to it. I'm thinking of a Olympus E-3 or something. But I need more info about it. Let's see...

Leica S2 full review

David Farkas managed to make a great review of the newly Leica S2. Very interesting and lots of images in it. Highly recommended to read.
Let's start here http://dfarkas.blogspot.com/

November Roadshow

Yesterday I had my hands on the new Canon EOS 1D MarkIV and the 7D. The 7D didn't really satisfy me, too small for my hands, the Mark IV looks like a very good camera. Anyway, I took an image from a model from the agency g2models with my D3X plus 70-200 and had a real good keeper. (1/400s at f2.8, ISO 1600)

Depression and anger!

The cure for fear is action. Action refocuses the mind on addressing and eliminating the source of the fear. Put one foot in front of the other, and think about each step taking you closer to finally being free of the fear.

The cure for depression is anger. You have a choice to be depressed or angry. Depression is anger turned inwards. Love and respect yourself. Turn the anger outwards and place it where it belongs. Better being angry than depressed, because anger motivates one to take action, while depression has the opposite effect, because it is self-oppression and demoralizing.

Don’t be fearful, get mad as hell, and then DO something about it!

If this does not make you mad enough to finally get up and DO something about it, you are dead already, and of no earthly good use to anyone, including yourself.

(Angry Mel)

No time!

I got invited from Zaki Silverman to show 30 images in his gallery in London. Sounds all very good to me. I had no time, have no time to care about all this artistic stuff. The industry keeps me too busy. Usually when I had a shooting, the images are at least online a week later. Now I need two month or so. Much too long. No time to care about my friends too, no time for myself. I have to change it. Now!


Simona this July. This image will take part of the gallery too.

Working with a Nikon D3X

The decision to get a camera with a higher resolution came after clients demanded bigger prints delivered in a shorter time. I was looking for a digital MF camera and got a good offer from my disitributor PPL in Karlsruhe. A Hasselblad H3DII-31 with a 80mm lens for a very good price, but the decision came too late and another photographer grabbed it. It was the last one from this special offer. The other Hasselblads were too expencive, so I looked for a high res DSLR.

The D3X came into my mind, but also I had a look at the Canon 1Ds Mark III which is a very fine camera. It was very easy for me to handle the Canon, because I used them for years. On the other hand, I use a lot of Nikon glass, so it was reasonable to have a closer look at the Nikon Flagship. I went to my dealer and rented a D3X for a week to play around and doing a project with it.
I did some product shots in the studio. After looking at the images on the Chilin 47" screen I was blown away. The detail was amazing, also I loved the quieter shutter on the D3X. It was easy to say, that's the new camera for my daily work.


Sharpness comparison





(Image graphs by courtesy of Yuri Arcurs)

I went to my office with the new package, took a full battery out of my D3 and put it into the D3X. After firing the first frames I was surprised by the fact, that this D3X had the same shutter lag as my D3. Not a good surprise! The rented D3X had a different shutter lag, which was lovely to work with. The D3 shutter lag of 41ms is good for action and sports, but on a D3X which is mainly a studio camera, it was a dead wrong decision from the Nikon engineers. The Canon 1Ds Mark III has a silent shutter mode which is much more comfortable to work with and perfect for handheld shots with a shutterspeed below 1/30 second. Big cudos to Canon, thumbs down for the Nikon engineers in this issue. I don't know if this can be solved in a firmware update, but it would be desirable to choose between different shutter delays.

Have a look at this picture I made from Diana. This was made with my old Canon at ISO 1600, handheld at 1/4 second. This image is very sharp, when you look at it in 100 % magnification. This is impossible to do with the short shutter lag of the Nikon D3X with 41ms. The hefty shutter would give me a blurred image in this conditions. The soft shutter release of the Canon gave me also a nice pressure point, which I miss on the Nikon. The D3X just "bangs" it out like the D3, unfortunately. To be honest, as much as I love the Nikon D3X, the Canon Mark IIIs gives you more "keepers" when handheld. From now on, I have to carry a tripod with me.

Noise. Is it an issue? Yes it is. With the D3X we come back to the old Nikon problem having noise at lower ISO. The Canon 1Ds Mark III surprisingly outclasses the Nikon from ISO 400 up. An ISO 1600 image looks like an ISO 800 image made with a D3X. The D3X has more noise, maybe of the use of a thinner low pass filter. On the other hand, this thinner low pass filter gives you sharper images than the Canon from ISO 100 to 400 . The question is if you really use the D3X often at higher ISO. I use it almost only at base ISO in controlled light and not above 800. When I need ISO behind 1600, I will take the D3 out of the bag, but in this case I'm limited to only 12 Megapixels.

Colours. After years of using Canons, I was very pleased with their skintones when using picture styles and converting the files with Canons homemade software DPP.
Using Photoshop I wasn't happy how Adobe rendered caucasian skintones. Lightroom wasn't good for that too. That's why I used for this DPP only. Also when shooting in the nature Canons picture styles gave me a nice green, brown and reds. It is still not Fuji quality, but close.

Image of Desiree made in Florida with my Canon and 2 hotlights, colour rendering in Canon Digital Photo Professional.



After looking at my first images made from the D300 and D3 back in 2008, I was more than dissapointed. The images looked flat, skintones too reddish, greens too yellow. It was hard to find a way in the middle, unless Nikon delivered some D2X colour styles. I find the colours from the D3X a little bit better than from the others. But if you render the colours in ACR or Lightroom, you need time to fiddle around with the files. I get my second best result with Phase One Pro 4 and the best result with Nikons homemade software Capture NX2. I have a very fast processor and 8GB RAM, so NX is not that slow, but still slower than anything else.

Simona made with a D3X and 14-24mm f2.8, natural sunlight, rendered in Capture NX2.




It is worth waiting until Capture NX2 has finished the images, because they have a very pleasing look, but still no match for skintones made by Canons DPP. Caucasian skintone is not that problem anymore and the yellow cast in the greens can be almost eliminated. The problem which is still there, is the reddish skintone on images made with studiolight. You need to spend time on your files. It is still work to do for Nikon in this issue. I think it is time for a firmware update.
(Update: Lightroom 3 Beta finally renders good skintones from my D3X, but still no mach against the skintones from Canon)


Lenses

D3X with 24-70mm f2.8G ED

What lenses do I use with the Nikons? My main lens is the new 24-70 2.8G ED. It serves me very well and I have any range from full body shots to portraits. Is it sharp? Yes, very sharp compared to my old Canon EF 24-70 2.8. I just love this lens and I recommend it to everyone. The D3X and the 24-70 is a perfect combo.

D3 with 85mm 1.4

My second and often used lens is the old but good 85mm 1.4. This lens is on the market since around 13 years. Sharpness is good at f1.4 - 1.8 and exceptional at f2.0 - f9.0. I don't need to talk about the wonderful bokeh, I think everybody who had a chance to work with this lens knows how it performs. It is solid built and not too heavy.

D3x with 14-24mm f2.8

The 14-24 f2.8G ED lens is another fantastic lens. My copy wasn't aharp at all, so I sent it through my dealer PPL to NIKON service in Germany. I got this lens back in almost 10 days and then it was tack sharp from the center to the corner even at 14 mm, that's what my Sigma 12-24mm on my old Canon never performed. The lens is sturdy and delivers perfect wideangle images. It is free of chromatic aberrations, shows a pleasing colour rendition and contrast.

D3x with 70-200mm f2.8 VR

Well, there is not much to say about this lens. It is my most used lens when it comes to low light portraits at low shutterspeeds when VR is needed. Vignetting is visible when used with a D3/D3X but not really an issue. I was lucky to get one of the last white ones. I don't like the black long lenses at all. Should I ever want the new Nikon 70-200 which comes into the market soon, I have to find somebody who can paint the lens in white. I cannot understand why Nikon stopped making white lenses and delivers only black lenses in the future.




Nikkor 105mm f2.8 Macro. A good lens for the little things in life. I do a lot of close up products, or little animals you don't want to have in the house. I like the IS (VR) thingy for handheld shots.

35mm look with a HD-Camera

With the Nikon D3x and D3, I made a decision against HD video on a DSLR. I wouldn't mind having it, cause I have seen very good movies made with DSLRs. But I don't need it really. Last september I purchased a Sony PMW-EX3 HD Video camera and I'm very happy with it.


Viewfinder of the Sony


What is to do if you want to have a typical 35mm look on videos? Get a 35mm adapter. I was looking around and found at Philip Blooms website the LETUS Extreme. I loved the look and the idea using my Nikon lenses on this adapter. You can find very nice films made with a Letus on Philip Blooms website. I got it from Mitcorp in the UK.

Retouching on a 47" screen

Retouching on a screen this size, gives me a new view to my images and a better control. This is a Chilin screen, with a very good resolution and a good cost-benefit ratio.



On the right side you can see my ThinkPad W700 with 17" screen oversize compared to the large screen of the 47" Chilin.

Black Hole Sun

disappear

Don't waste my time!

You spend my money, you drink my best red wine
You think it's funny to see me all the time
Sitting with my head hanging down
You treat me just like a clown
You spend my money but honey you sure needn't waste my time

When you get older you'll see what you have done
You hung on my shoulder and loved me just for fun
Someday when I'm older too
I'm gonna come and make a fool out of you
You spend my money, but honey you sure needn't waste my time

You spend my money, you drink my best red wine
You think it's funny to see me all the time
Sitting with my head hanging down
You treat me just like a clown
You spend my money but honey you sure needn't waste my time

(listen to the song)
Model: Diana

Italian Lady

Back in time I had an italian girlfriend, I remember it was in the early 80's. She was beautiful and a kind of crazy. Must be the sun down there. My last shooting was with an italian lady, called Spaghettilegs which was not a lady at all, but crazy and very creative. I had a lot of fun with her and the 80's came back in my mind. We went down to the industrial side of the Rhineriver, the other day into the black forest and at least we shot in a old steelfactory. Of course we did some wacky photos in her hotelroom too.

Night ride

Dreaming, going on a night ride
Hoping it's gonna be the right ride
Feeling so well, I'm in tune, can you tell that I'm grooving?
Can't you tell I'm in tune, and I'm moving so much closer to you

Leaning, hoping for a straight line
Meaning, hoping for the right rhyme
I'm in tune to the room 'cos my head just went boom and I'm moving
Can't you tell I'm in tune and I'm moving so much closer to you
Can't you tell I'm in tune and I'm moving so much closer to you

You, you, you, you, you move me


Scheming, thinking of the right place
Beaming, laughing at my own face
We got a long way to go 'cos you make like you're so disapproving
But can't you tell I'm in tune and I'm moving so much closer to you
Can't you tell I'm in tune and I'm moving so much closer to you

You, you, you, you, you move me

(Song: Night Ride from Status Quo) listen to this song

I am smoke

In my dream smoke followed me
As on fire the whole world had been
To the yard I walked in
Up the frontstep and opened the door

Cranes flew over to the North
As I walked on dry
And passed through a grove
Yellow with flowers

They had been expecting me
They said so and I believed
Im my dream smoke came to me
And we became as one

I am smoke

Some days are made for smoking

I lock my door and stay in bed
I dream of love in gold and red
It may be silly but I do it anyway
I think of you and what you said
What's going on inside my head
Some days are made for smoking
I'm not asking for much
All I want is your full attention
And your everlasting love
Your true pure love
And you've got to believe that
I lock my door and stay in bed
I dream of love in gold and red
It may be silly but I do it anyway
I think of you and what you said
What's going on inside my head
Some days are made for smoking

Simona

Broken lady
Tears run dry
You lie there easy, growin' wise through it all
Tearin' the soul
They watched you fall
Lady, just lately your song has grown south

Who'll weep for the
Withered rose?
Who will mourn the
Sparrow?
Who will cry for tommorow?

Broken lady
They say you soul
{Is}Clingin' to shadows of lovers long gone
Children sing loud
Children draw near
Lady, just lately your song has grown south

Who'll weep for the
Withered rose?
Who will mourn the
Sparrow?
Who will cry for tommorow?

Tearin' the soul
They watched you fall
Lady, just lately your song has grown south

Who'll weep for the
Withered rose?
Who will mourn the
Sparrow?
Who will cry for tommorow?