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they did so with two-inch tape on a reel-to-reel
machine. “Generally, there’s a warmth, there’s a
life to analog that I really enjoy,” Raynor says.
When he wasn’t playing, Raynor was taking pic-
tures of his band and his friend’s bands while they
played, reigniting an old interest in photography.
And as with many parallels between Raynor’s mu-
sic and his photography, his affinity for the old
way of doing things translated to film in cameras
at the onset of the digital age.
It’s not that Raynor has never used a digital cam-
era. He did and did it well for more years than he’s
now been using film. But slowly, over a decade of
serious photography, film won him over.
Film, like the camera itself, is an integral part of
Raynor’s art. Though landscapes are a specialty,
Raynor’s empathy and eye for composition are
also evident in his portraiture and street photogra-
phy involving people and animals. Film leaves him
room for variation, where a digital photograph