Haze on brick. Long coat. Then the treeline.
Misty Plains was shot in Murfreesboro in light rain, and it runs in two halves. Fourteen frames, all after dark, the "haze" in every one of them just rain catching the streetlights. The first half sits in a townhouse parking court, streetlamps and dark windows bleeding through the wet air, a yellow Corvette and a black SUV flanking a figure in a long black coat. The second half walks out past the buildings into a field of fallen branches under hard camera flash.
In the court it is loose and almost cheerful - a wide grin caught mid-stride, the coat swinging open over a dark tee and chain, the Corvette pulled into a bright yellow smear behind him. A couple of frames are dragged fully into blur, the streetlamps and a white car bent into bands of light.
Out at the treeline the mood drops. The coat is gone; now it is a grey jacket over a black vest lettered across the chest, grey cargos, round sunglasses, gloved hands. He crouches in the deadfall under flash, reaches a spread hand toward the lens, lies back on the dry earth with a distant orange light burning at the edge of the trees.
The yellow C7 that opens it is the catalogue's recurring prop - a boat ramp, a cold street the same week, then its own single, "C7." Here it is left behind in the rain after the first few frames and never comes back.
What "Misty Plains" means
The title says open country; the shoot delivers a Murfreesboro parking court and a strip of scrub behind a housing block. That gap is the whole idea - a "plain" is wherever the buildings stop and the rain takes over, and here it is a few dozen feet past the last parked car. The wet air does the rest, pulling a suburban lot and a bare field into the same grey nothing. In the wolf's scripture the VOID is the thing with no features to fix on, and light rain on a residential street at night is a fair likeness. The shoot walks straight out into it and lies down.
SEE ALL 14 PHOTOS FROM THE SHOOT HERE
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