a small drama

I was in the skywalk when I spotted this kid strolling down the sidewalk and texting. I probably wouldn’t have paid him any attention at all if he hadn’t come to a sudden John Belushi-style halt. He sort of bounced up and down on his toes for a moment, then rushed over to the standpipe, sat himself down, and began texting furiously.

I started to take his photograph, then hesitated. There was something about his posture that led me to think he wasn’t getting pleasant news. I watched for a bit, feeling sorry for the kid and feeling a little guilty for spying on him in his misery. At least I assumed he was in misery; for all I know he could have been involved in some furious last-minute Ebay bidding on an autographed Lady Gaga poster.

So I stood there for a moment. It occurred to me that I’d have had no hesitation shooting his photo if he’d appeared  happy–so why shouldn’t I take the shot just because he seemed distressed? Why should his mood be the deciding factor on whether or not I take a photograph? Why should that matter?

But it did. All the same, I shot the photograph. I felt like a voyeur, and in the end I only shot the one frame–but I took the shot. Afterwards, I found an exit from the skywalk and strolled over to the drugstore, though I’m not sure what my purpose was. I guess I thought maybe I’d see or hear something that would give me some hint as to the kid’s mood. But by the time I got there, he was gone.

I wish now I’d taken my time and shot three or four frames. If you’re going to do a thing, whether it’s morally questionable or not, you may as well do it properly.

passing through

I like to think that at heart I’m really a black-and-white sort of guy. Not in my worldview, but in photography. B&W is all about form and shape, without any of that distracting color. B&W is visceral. You see the shot and it passes directly from your eyes through your balls and straight to the finger on the shutter. B&W is Tom Waits.

I like to think that at heart I’m a black-and-white sort of guy…but I’m not. Oh, I can get close to it now and then—I can visit the territory, but I don’t belong there and I’ll never be a resident. I do enjoy passing through, though.

following through rock

I  used to dislike giving titles to photographs. Then, for reasons I’ve never bothered to try to understand, I began to enjoy giving titles to photographs. Sometimes the title means something; sometimes it’s just a word or phrase that makes an otter slide into my head and I slap it on the photo.

I did that this morning. I was getting ready to post a faux Polaroid in my traffic signal series and I needed a title. I called it Lodestone. No idea why. I wasn’t entirely certain I knew what a lodestone was—a primitive magnet of some sort used as a compass?

It turns out a lodestone is a naturally occurring magnetized mineral called (are you ready for this?) magnetite. But what’s really interesting is that lode is the original spelling of load, and in Middle English it meant a path or a course. Somewhere around the 16th century, miners began to speak of following a vein of ore through the rock—following the lode. They would then carry the lode (load) out, and eventually folks began to differentiate between lode and load.

Because magnetized stone would, if suspended, always point North, a lodestone was a stone that showed one the way.

I still don’t have any idea what that has to do with the photograph. But I learned something new. So there’s that.

ongoing conversations with the curb

There’s an empty lot I like to visit. There used to be a supermarket at that location. I don’t know quite when it was torn down, but nature is slowly having its way with the lot. People once bought Cheerios and pork chops and dish-washing detergent here. Now it’s home to field mice and garter snakes, to rabbits and hawks, to crows and the occasional deer.

I find that oddly appealing.

As I wandered around the empty lot back in November I noticed somebody had tied a length of red PVC-coated wire around a chunk of broken asphalt curbing–presumably to make it easier to carry. I’ve no idea why anybody would want to carry a chunk of broken asphalt curbing anywhere, but apparently somebody did–and wanted to make the chore less onerous (although, in truth, the bit of curbing couldn’t have weight more than a couple of pounds). In any event, somebody had toted the curbing some twenty yards from its original position and then set it down.

Why? Why move the chunk of curbing? Why move it only twenty yards? Why weave a curb-carrying net for the task?

I didn’t understand it. I still don’t understand it. I’m completely baffled by it. But I find it inordinately cool.

Every time I passed that empty lot I’d stop and check on the bit of curbing. I’m not sure what drew me–what continues to draw me. I suppose it was as much a ritual as anything else. Nothing changed. The curbing stayed exactly where it always was (what else would a bit of curbing do?) and remained an enigma. The world just moved on around it.

Last winter I noticed a heron had passed by without stopping to ponder the larger meaning of a bit of asphalt curbing wrapped round with a length of red PVC-coated wire. I suppose herons have their own things to consider.

Winter became spring, and I continued to stop by and visit the bit of curbing whenever I passed by the empty lot. I didn’t go there just for the curbing. The lot itself has charms of its own. There’s usually a contingent of shy crows making a fuss in the distance. Fog and mist seem to linger there longer than in the surrounding areas. On occasion somebody from the nearby apartments will wander through, taking a short cut to the nearest bus stop.

I think of those people as trespassers. They’ve no interest in the lot itself, let alone in the chunk of curbing. They have no relationship with the lot. They’re just passing through. Which is perfectly okay with me.

The empty lot might have its own unique attractions, but the curbing–that’s a mystery. It’s the chunk of asphalt curbing that pulls me with tidal regularity. I might visit the empty lot and not pay any attention to this or that particular aspect, but I invariably make my way to the curbing.

I’ve told other people about it–about my fascination for the lot and the curbing. And for the most part, they smile and nod with a sort of kindhearted patience–but it’s clear they see the whole thing as ‘another of Greg’s eccentricities.’ And I suppose they’re right. But how could they not be curious about it? Somebody tied red PVC-coated wire around a chunk of asphalt curbing and toted it a distance of twenty yards–and then just set it down. How can that fail to fascinate?

Then one day I visited the former supermarket and the bit of asphalt curbing was gone.

Except, of course, it wasn’t really gone. It had merely been moved. Somebody had picked it up–presumably by the red PVC-coated wire carrying net–and toted it another twenty or thirty feet. I’d sort of expected something like that might happen. I’d felt the desire to pick it up and move it myself. The more I thought about it, the more I realized it was inevitable that somebody at some point would take hold of the chunk of asphalt curbing and carry it off–even if only for a few feet.

The curbing-mover might have moved it farther, except the wire handle had snapped. The curbing was abandoned where it fell. I suppose there’s no reason to move the curbing at all if you can’t carry  it by the handle.

And there it sat. Through the spring and into the summer, there it sat all by itself, unmoving and unmoved. Until now.

Now it’s been tipped over. Somebody saw the chunk of curbing and, for whatever bizarre reasons, decided to fuss with it. But that’s not the most peculiar thing.

Even more peculiar is the fact that there’s now a second chunk of asphalt curbing beside the first. A second chunk of curbing without any red PVC-coated wire carrying web. A chunk of curbing that doesn’t seem to have come from the same location as its predecessor. A chunk of curbing that was apparently just minding its own business when it was commandeered and carried–apparently by hand–to this new spot.

 And now I’m left, once again, to wonder why. Not just why somebody tied red PVC-coated wire around the original chunk of curbing and carried it for twenty yards. And not just why somebody (presumably a different person), several months later, carried it a tad farther. But why somebody (I’m assuming a third unrelated person) would carry a second chunk of asphalt curbing and set it in the vicinity of the original. Why?

It makes no sense. None at all. It is absolutely bat-shit crazy. The ambiguity is killing me.

I hope it continues.

in which i give a critique disguised as discourse

Over the last couple of years I’ve been slowly banging away at a series of photos centering on traffic signals. A few months ago an acquaintance told me he liked the series and wanted to know if I’d object if he started a similar series.

How could I object? I don’t own traffic signals. So I told him to have at it. Recently he asked me to look at his series and give my thoughts. As a general rule, that’s my cue to run and hide and avoid that person for a few weeks. I tried to distract him with an amusing anecdote about an Irishman, a Jew and a Martian who walked into a bar, but he wasn’t having any of it. So I looked at the photos. I mean, how bad could it be?

Pretty fucking bad, is how bad. He’d jammed about 70 or 80 photos together, of which maybe half a dozen were good (in my opinion, which is a matter of taste, of course). But it wasn’t just a matter of good/bad photographs; he didn’t seem to understand that a series needs to work as a unit, not just as individual images. He didn’t know how to edit them so they worked together.

So I found myself thinking about what makes a series work, and here’s what I think: what makes a series work is its ability to communicate an idea or a mood. It’s not just a collection of photographs of the same thing–coffee cups, the dog, decaying houses, sports equipment, traffic signals. A successful series, I think, finds meaning in the subject, or brings meaning to the subject, or explores relationships between the subject and other stuff, or conveys a specific unifying mood. But it’s not just photos that feature the same thing.

And that’s where this guy failed, in my opinion. They were just random pictures of random traffic signals shot for no other reason than there was a traffic signal in the frame, then clumped together without any editorial thought. If this guy (who, I hope, will be reading this) would only decide why he’s shooting the photos of traffic signals, then cull the images that don’t fit with his intent, he’d have a good beginning for a series.

stubborn

I don’t normally like to photograph kids after they reach the age where they’re aware of the camera and what it does. They tend to respond too much to the camera. Too much or too little.

This is a fairly controlled smile. This is the face she was determined to present to the camera, and nothing I could do or say could crack that control. She’s a smart kid, stubborn as can be. But she wasn’t being stubborn out of mule-headed intransigence. She was being stubborn because it amused her. She made stubborn seem charming.

the moon, the fence, and the dog’s bladder

So it’s just after midnight, right? And the brother’s little dog demands to be let outside to pee (how such a small dog can contain such an astonishing quantity of urine is a mystery to me; I think about a third of its body weight must be urine). But it’s a beauteous evening, as Wordsworth would have it–calm and free and all that. So I wander outside as well.

The moon is absurdly bright, and it’s illuminating the fence in a particularly charming way. So I go fetch my gear to photograph it. Camera goes on the tripod, tripod legs are extended, camera settings are adjusted, lens cap is removed, remote shutter release is ready. Then everything went pear-shaped, as the Brits would say.

In order to get the composition I wanted, I had to set up the tripod in front of the brother’s garage. But when you move in front of the garage, a motion sensor turns on a light. Of course, the light turns itself off after a few minutes, which would have allowed me to shoot the photograph IF I stood very still. Which I didn’t do three times in a row.

But the marvelous thing about a remote shutter release is you can stand off to one side and trigger it. So all I had to do was set up the shot, move out of range of the motion detector, wait for the light to go out, then press the remote release. It would have worked like a charm but for the little urine-filled dog, who repeatedly wandered into sensor range.

So I had to corral the wee beastie and put it in the house. By which time the moon had gone behind the clouds, leaving me with nothing whatsoever to photograph. Except the model of greatest convenience.

So here’s me, sulking.

itinerant curbing

I enjoy documentary photography–both the concept and the reality. I love it that there are people out there documenting their lives and the lives of others. It pleases me no end to know there are photographers taking photos of their friends and family members, who take pictures of the meals they eat, who document where they live and work and play, who shoot portraits of the people they meet, who find their mundane lives so interesting they feel a need to share them with others.

I enjoy documentary photograph–but I have almost no interest in doing it myself. Almost none.

But sometimes I get attracted to an object–a bright red snow disk, a gas mask, traffic signals–and I document that object. Last fall I happened to see this chunk of asphalt curbing around which some red PVC wire had been tied, making a sort of carrying device. The curbing had been carried about twenty yards from its original position. I visited the curbing every few weeks and photographed it. Then one day it was in a different spot; it had been moved maybe seven or eight yards away…at which point the PVC wire had apparently snapped.

And it’s still there. I don’t understand this at all. I don’t understand why somebody wanted to move the bit of curbing to begin with, I don’t understand why it was set down where I originally found it, and I don’t understand why anybody moved it further. I just don’t understand it.

And that pleases me.