trump’s maltese collateral

First, let me say very clearly and categorically that I personally believe it’s morally wrong to take pleasure in another person’s pain or humiliation. Then let me admit that I’m enjoying the hell out of the admission by Comrade Trump’s lawyers that he can’t find anybody or any institution willing to trust him enough to pony up US$464 million for his bond in the New York State fraud case.

There’s an excellent chance Trump will be forced to sell some of his properties, which will be even more humiliating (and I’ll enjoy the hell out of that too). Well, to be more accurate, he might be forced to TRY to sell some of his properties. It may be difficult to find buyers. Trump’s attorneys, in their most recent court filing, admitted they tried to use Trump’s real estate as collateral for the bond. And hey, guess what. Nobody would agree to accept it.

Why? Because…and this just makes the pain and humiliation all the more piquant…the very reason Trump has to post a bond is that he fraudulently misrepresented the value of those properties.

Remember The Maltese Falcon? The movie or the novel, doesn’t matter which, the story is the same. The plot hinges on the supposed existence of a 16th century statue of falcon made of gold and jewels, crafted by the Knight of Malta as tribute to the King of Spain. There’s a lot of intrigue and betrayal, but in the end (SPOILER ALERT) the falcon turns out to be a fraud.

In your mind, replace the falcon with Trump Tower.

What we’re talking about here is Trump’s version of the Maltese Falcon. The court determined that he lied about the value of his properties, and now he’s trying to use those properties as collateral. Nobody wants to buy this corrupt motherfucker’s fake falcon.

This has to be humiliating and painful for Trump. Incredibly humiliating and deeply painful. Soul-crushing humiliation, gut-wrenchingly painful. We’re talking humiliating and painful at the cellular level.

Damn, I’m enjoying this.

…and be there

F/8 and be there. That’s the classic photographer’s maxim. It’s usually attributed to Arthur Fellig (better known as Weegee), though it’s highly unlikely he actually said it. Weegee was famous for what was called ‘spot’ or ‘moment’ photography in the 1930s and 40s. He made it his business for being at the right spot for newsworthy moments and being prepared to photograph them. A camera aperture of F/8 is generally considered an all-purpose aperture; it allows in enough light for a decent exposure while providing a relatively broad depth of field. So how do you get a good ‘spot’ photo? F/8 and be there.

In fact, Weegee routinely shot most of his famous photos with his massive 4×5 Speed Graphic camera set at F/16 or F/22. Not that the actual aperture he used matters. What matters is the concept is solid. Be in the right spot with usable camera settings, and you’ll probably get a good shot.

Me, I had my 12-year-old Fujifilm X10 set to F/5.6 in case I came across some random right spot. I was just idly wandering around the city when I heard the distinctive sound of a basketball being dribbled. I followed the sound. There’s a small urban recreation area in Des Moines with a single pickleball court, a ping pong table, a few tables set up for chess and backgammon, and a basketball half-court. This is what I saw when I came around a corner.

There was a guy, all by himself, dribbling a basketball, juking around imaginary defenders, shooting baskets. He was in the shade and almost invisible, but the setting itself was so stark and had such a startling red stripe that I turned on my camera and kept approaching, hoping he’d move into the sunlight. And he did.

I kept edging closer. I refused to look down to double-check the camera settings for fear he’d move into the sunlight and I’d miss the shot. He kept dribbling and juking and shooting, and every time he moved into the sunlight, I snapped a photo.

I only got five shots before he stepped into the shadow to check his watch. Then he put on a jacket, collected his basketball, and walked off. My first shot was as 12:44, the last at 12:45. Two minutes at most. Probably closer to seventy or eighty seconds, most of which was spent walking forward, camera ready, trying to maneuver the guy into the sunshine by wishing really really hard.

Once it was clear the moment was gone, I started desperately chimping* my camera’s playback, hoping I’d managed to get at least one shot that was worthwhile. In one of the shots, the guy was too obscured by the shadow. The other four? They all turned out.

Are they great photographs? No. But when you’re shooting a photo, you generally have an idealized version of the resulting image in your mind. These four photographs are pretty much what I was hoping they’d be. Pretty much. I have some niggling complaints about the final photo, but overall I was ridiculously pleased.

Photographing some random guy shooting baskets on his lunch hour is a small thing. But it’s the sort of thing that keeps photographers walking around with a camera. There’s a definite dopamine jolt when you get the shot right. It doesn’t even matter what the shot is about; you just want to recreate that feeling again. That’s exactly why I was idly wandering around the city and exactly why my camera set to my default daytime aperture of F/5.6.

I’m no Weegee, but I want to be ready when I’m there, wherever there happens to be.

EDITORIAL NOTE: Chimping, for non-photographers, is the act of looking down at the screen of your digital camera while reviewing the shots you’ve just made, and making chimp-like “Ooh ooh” noises as you do it.

bi-generation?

Okay, first thing, if you’re expecting this to be about a generation of bisexual people, you can just stop now. It’s not about bisexuality. Well, not specifically. I mean, it’s about Doctor Who, so it could be argued that bisexuality is sorta kinda implicit. I mean, The Doctor (and yes, Whovians (and also yes, Doctor Who fans are often called Whovians, get over it) always refer to Doctor Who as The Doctor, get over that too) is an alien who’s been both male and female and has been attracted to both men and women, so…yeah.

I understand, not everybody is a fan of Doctor Who. If you’re one of those folks, then you might as well take a nap, on account of this is totally about one of the esoteric aspects of The Doctor. I’m talking, of course, about bi-generation.

If you’re NOT a Doctor Who fan and, for some inexplicable reason you’re still reading this, allow me to explain the regeneration business. There’s obviously a practical aspect to it. The show is 60 years old; the original Doctor Who has been dead for almost half a century. In order to keep the show going, a new Doctor had to be introduced. Rather than just toss in another actor and pretend he’s the same person, the writers introduced the concept of regeneration. When The Doctor is fatally injured or their body is failing for some reason, they go through a transformation process—their cells renew into a different physical form, which results in a new body. Their memory remains mostly intact, but the new Doctor has a unique new personality. This is regeneration.

It’s happened 13 times in the course of the show. We expected it to happen a 14th time, when the new Doctor (played by Ncuti Gatwa) would be introduced. But instead of a classic regeneration, we were subjected to bi-generation. As The Doctor (played by David Tennant) prepares to die, he’s supported by two women, one on either side. The regeneration process begins, then…nope. It just…stops. Everybody is confused. The Doctor asks those supporting him to pull (on his arms), and hey, bingo, he splits in two. Sorta kinda.

I mean, where there was The Doctor, now there are two Doctors—one a pale skinny Scotsman (Tennant), the other a muscular Black man (Gatwa). I didn’t notice this at first, but The Doctor’s clothes are also divided; Gatwa gets the shirt, tie, shoes, and underpants. Gatwa also gets to ask the question that EVERYBODY is thinking: “Now, someone tell me what the hell is going on here!”

Putting the bi in bi-generation.

What the hell is going on is something completely and entirely unprecedented. As a fan, you have to ask, why did the writers do this? Why would they introduce a new form of regeneration? In my opinion, there are solid narrative reasons for the bi-generation business. Consider that The Doctor, in various incarnations, has been around a LONG time. They’ve saved civilizations and destroyed them, they’ve rescued billions of people and seen (or caused) billions to die, they’ve fought monsters and they’ve been monsters, they’ve loved companions and seen them die (or leave or get abandoned). Because of this, The Doctor has the universe’s worst case of PTSD and survivor’s guilt ever. Let’s face it, the Doctor is massively fucked up.

By tossing in this bi-generation, the writers have done two very important (for the fan base) things. First, they’ve given the new Doctor a clean slate. Gatwa has The Doctor’s memories, but isn’t burdened by the guilt. It also allowed Gatwa to skip the post-regeneration ‘Wait, who am I now?’ confusion that normally accompanies a new Doctor. He starts fresh, confident, eager, enthusiastic—and Gatwa’s delight in being Doctor Who is apparent and infectious.

Second (and probably more important for the fans), the old Doctor gets a chance to heal—to live a somewhat more normal life, to have something like a family, to be relieved of the obligation to fix every fucking thing that goes wrong, to just relax. There’s something healing about seeing Tennant sitting down to a meal with his expanded chosen family. It’s just really nice to know his end isn’t traumatic.

BUT (you knew there was a ‘but’ coming, didn’t you), I’m a wee bit disconcerted by one thing in particular. As I said at the beginning, Whovians always refer to The Doctor as The Doctor. Not just any Doctor, but THE Doctor. Because The Doctor is singular. There’s only one The Doctor.

Until now. How can Ncuti Gatwa be The Doctor when there’s another Doctor Who loafing about in Donna Noble’s garden in Chiswick? Personally, I’m more than willing to abandon the singular The and refer to the 14th Doctor as the Doctor, so long as I get to imagine the old Doctor sitting around at night with Wilfred Mott, drinking tea from a thermos and looking at stars through a telescope.

box of glasses

I don’t know about you (seriously, I can in all honesty say that I absolutely do not know about you), but whenever I come across a box full of old eyeglasses, I fall victim to a sort of mild compulsion. I feel the need to put them on. It’s not an irresistible compulsion; I could probably hold out against it, if I really wanted to. But why would I?

Perhaps you also feel that same impulse when you come across a box full of old eyeglasses. It’s possible. But like I said, I don’t know about you.

In any event, I did, in fact, recently come across a box full of old eyeglasses while clearing out some shelves in the garage. I don’t know how many pairs of glasses. Dozens, both men’s and women’s, both regular glasses and prescription sunglasses. And hey, I gave in to that compulsion. I gave in without any hesitation at all. I wanted to see what the world looked like through a series of lenses generated for other people.

[SPOILER: it looks blurry.]

And almost immediately I felt another mild compulsion: I wanted to see what they looked like on somebody’s face. But you can’t just ask somebody to sit and try on old eyeglasses that belonged to other people, all of whom are dead. You can’t ask somebody to do that just for your own amusement. I mean, you can ask them to do that, but it would be awfully presumptuous.

So instead, I turned to the Model of Primary Convenience. Me.

I don’t take many selfies. I know what I look like; I’ve had this same face all my life, so there’s nothing there for me to discover. And, in all honesty, I’m sort of uncomfortable taking photographs of myself (unless it’s a reflection in a window or something).

But there I was, under a mild compulsion, sitting at a table with a box full of eyeglasses and my Pixel phone in front of me. So, I put on the first pair of eyeglasses I pulled out of the box (women’s cat-eye glasses) and I took a selfie. And I looked at it. And it was sort of hilarious.

So I did it again, with a different pair of eyeglasses.

Here’s a True Thing about people who spend years shooting photographs: you sometimes stumble upon an idea that feels like it’s worth repeating. It becomes a project. Eventually, I tried on 25 different pairs of eyeglasses and took a selfie in each of them.

This wasn’t as simple as it sounds (and it sounds really simple). Lots of the glasses I put on were so strong they were disorienting. Others were so dark they were difficult to see through. I often had to guess when I was properly framed so I could press the shutter release (which, yes, I know, isn’t actually a shutter release; it was either call it a shutter release or the button, and the button makes it sound like I was launching a thermonuclear weapon).

I tried to maintain the same facial expression in all the photos because…well, I don’t really know. Some perverted notion of uniformity, maybe? Something to do with the notion of an internally consistent photo project. In any event, it was really difficult to maintain the same expression, partly because I kept wanting to laugh and partly because the glasses distorted my sense of reality to the degree that I often couldn’t see my expression clearly enough to maintain it.

Earlier, I wrote that I tried on twenty-five different pairs of eyeglasses and took a selfie in each of them. I probably tried on twice that many; I just didn’t take a selfie in all of them. A lot of the old eyeglasses were similar in design, so there was no point in photographing them. I mean, one pair of aviator-style glasses looks a lot like every other pair of aviator-style glasses.

A lot of those similar looking eyeglasses had radically different prescription strengths. It probably won’t surprise anybody to learn that trying on a few dozen different eyeglasses of various prescription levels will can you a whanging headache. So if I failed to keep my expression the same in all the photos–if, in some of the photos, I look confused or dazed or disoriented or dangerously unbalanced–now you know why.

I did all this entirely to entertain myself, of course. I’m sort of embarrassed to admit that’s my reason for doing a lot of the stuff I do. But having turned my personal amusement into something of a photo project–having shot a couple dozen selfies in various eyeglasses–I find myself thinking some of you might find it amusing as well.

Besides, I firmly believe in Stieglitz’s concept of practicing in public, of showing work that doesn’t quite meet your standards for what the work could be. He wrote:

[I]f one does not practice in public in reality, then in nine cases out of ten the world will never see the finished product of one’s work. Some people go on the assumption that if a thing is not a hundred percent perfect it should not be given to the world

Stieglitz talked a lot of bullshit, but he was spot on in this regard. I don’t feel any need for ‘the world’ to see the stuff I do, but I’m a firm believer in sharing anything I think somebody somewhere might find interesting. Even when it makes me look ridiculous.

return of the fujifilm x10

This is what happened. At some point over the last few months I began to miss the feeling of using a camera. I missed holding a camera in my hands. I wasn’t dissatisfied with my phone; it takes excellent photos. But it’s not the same; it’s a multi-use device that also happens to take photographs. I missed using a tool designed solely for the purpose of making photographs.

So a couple of weeks ago I opened up a cupboard and looked at all my abandoned cameras. I don’t have a camera collection; I just have some cameras I’ve stopped using. Some are film cameras, some are digital. I picked up a few and handled them. It was one of those Goldilocks moments; this camera was too big, this one was too heavy, this one would require a substantial investment in film and processing.

I pulled out the last camera I’d bought–a Fujifilm mirrorless camera. I was surprised to find the battery still had a charge. So I shot a few frames around the house. It felt awkward in my hands. Worse, I’d forgotten all the familiar menu pathways. I couldn’t remember how to make the cameras do what I wanted it to do. When I put the camera back in the cupboard, I noticed the very first Fujifilm camera I bought. A small X10, the first model of the compact cameras with the letter X and two digits in the product name. I bought it back in 2012 and wrote a blog post about it.

Out of curiosity, I did a quick file search and found the last photo I shot with x10. It was from August 15, 2016 at the Iowa State Fair, at one of those rides designed to toss people around and give them the illusion of danger. I liked the photo; you can see anxiety and bravado, you can see the clinched-butt need to appear calm and unfazed.

Iowa State Fair 8/15/2016

That photo was the spark I needed. So I dug around in the cupboard until I found the battery charger and charged the batteries. It had been so long since I’d used the camera that I had to re-set everything from scratch, including the date and time. I even tracked down the manual for the X10 online. I’m sure I must have at least glanced at the manual when I bought the camera, but I was unaware of some of the things the camera could do. For example, I created a custom setting for black-and-white shots, which is something I’ve never done before (and I’ll come back to that in a bit).

A man in a bright red vest and hoodie standing outside a barber shop.

Yesterday I set out to see if I could remember how to use a camera. Well, that’s not entirely true; I set out to go geocaching with my brother, but I used the excursion as an opportunity to re-acquaint myself with the X10. The little camera was a tad too big to slip into the pocket of my jeans, but it slid easily into the pocket of my hoodie. It weighed next to nothing. While my brother did the grunt work of geocaching, I watched a guy in a red vest fidget outside a barbershop in a Latino neighborhood. And the camera felt right.

Dead end road across the river from the minor league baseball stadium.

The camera felt right but the final results were…mixed. The first thing I had to re-adapt to was the parallax effect since the X10 is a sort of retro-designed rangefinder camera. I suspect a lot of folks have never used a rangefinder camera and are wondering, “Greg, old sock, what the hell is this parallax effect?” Unlike your basic single-lens-reflex camera, which allows you to see the scene through your lens, a rangefinder viewfinder is only near the lens. So you’re not seeing exactly what the lens sees: that’s the parallax effect. You have to learn to adjust to the small shift between what you see and what the lens sees. The closer you are to the subject, the more drastic the effect.

Kid riding a bike, seen through a public art sculpture.

In the photo above, I wanted to catch the rider in that patch of sunlight between the shadow and the tree. I was a fraction of a second late with the shutter as I panned to follow the kid, but I want to claim the tiny amount of parallax exacerbated the problem (DISCLAIMER: it almost certainly did not exacerbate the problem, but it’s a convenient thing to blame). If I was a fraction of a second too late releasing the shutter in the photo above, I was a fraction too soon in the photo below.

A city employee cleaning up litter and leaves.

I’d hoped to catch the street cleaner at a point just beyond the sign identifying the location as the Civic Center. I was a tad too quick on the trigger. Much of the day was spent confronting the reality of the Ferris Bueller School of Photography. Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it. I was lucky not to miss the look of disdain by this privileged white woman as she watched a black man securing some home furnishings in the back of a rusty pick-up.

A man secures some home furnishings in his pick-up while a woman walks by and watches.

I mentioned earlier that I created a custom setting for black-and-white shots. This is one of the advantages of digital photography. With a film camera, you either have to change from color film to black-and-white film or carry two cameras. With a digital camera, you just turn a dial or change a menu option. I decided to try to create a setting that would sorta kinda almost mimic Daido Moriyama’s Provoke period. High contrast, high ISO, high grain. (Of course, digital imagery doesn’t have grain; it has noise, which isn’t remotely the same…but what the hell, I set the noise allowance as high as possible).

And hey, guess what. It didn’t work.

Two people walking behind some townhomes.

It wasn’t really a surprise that it didn’t quite work. Partly because Moriyama wouldn’t photograph a couple walking behind some upscale trendy townhomes. Partly because I didn’t see many high contrast scenes. And partly-mostly because I’m no Daido Moriyama. I shot maybe a dozen frames (okay, digital imagery doesn’t actually have frames either) using the custom setting. Most of them, like the photo above, are painfully dull.

I was only pleased with one black-and-white shot. Frankly I’ve shot MUCH better black-and-white photos with my cell phone (which, if you’re interested, you can see in a post about practicing photography in public). These photos were less black-and-white and more black-and-shite. But I intend to experiment more. Maybe I’ll figure out how to get the camera to give me the b&w photos I want.

Cyclist checking his stats.

At the heel of the hunt, though, I’m happy with the old X10. I’m reminded that my approach to almost everything I do is grounded in the same attitude. I want to do things well, but so long as I’m enjoying myself, I’m not that concerned with the results. And folks, I had fun with that little X10. I plan to start toting it around with me more often. In fact, I just ordered two extra batteries.

bluesky smilin’ at me

I’ve been asked to give my initial impression of Bluesky, the social network. I was invited to join about a month ago (courtesy of Bryce Fields, an old Flickr friend), and I have to say, it’s not quite what I expected it to be. But it is pretty much what I hoped it would be.

I was reluctant to leave Twitter because it fed a lot of my niche interests. Yeah, it was messy and ugly and getting more hateful by the hour, but it also allowed me to get a regular info-fix of crows, politics, archaeology, William Gibson fashion views, lizards, peculiar chunks of history, the US Women’s National Team (soccer), mortuary symbolism, and lots of other stuff. Twitter was like a Big Box store unfortunately staffed by Nazis but well-stocked with a lot of weird shit I wanted to know. I didn’t think there could be a venue where I could find all of that in a hate-free environment.

Twitter, as awful as it was (and still is), was also incredibly useful for real-time news. If something newsworthy was happening somewhere in the world, it was happening on Twitter. I’m talking about anything newsworthy–whether it was a riot or a natural disaster or some guy who found a human toe in a can of soup. Sure, you had to be alert for massive amounts of misinformation and even deliberate hateful disinformation, but Twitter served a purpose.

So here’s the question: does Bluesky work well enough to replace Twitter? Yes, it does. Bluesky isn’t quite there in terms of newsworthiness…yet. But it shows real potential in regard to my niche interests. And best of all, it’s virtually Nazi-free. Hell, it’s actually (and I hesitate to say this for fear of jinxing it) very pleasant. It’s comfortable without being ‘safe’ if that makes sense.

It’s important to remember that Bluesky is still in Beta, which means that a number of things we take for granted on other social media are missing. Stuff like hashtags or the ability to construct long discussion threads or DMs. Maybe those things will come later, I don’t know. At this point, their absence only marginally detracts from the experience.

The Bluesky experience is relaxed and welcoming. Some of this may be because it’s still fairly small. But, at the risk of sounding sappy, the users make a genuine effort to get along with each other. I’ve seen very little drama or rancor. There’s almost no indication of the sort of asshole culture that thrives on Twitter. I’m not saying there aren’t any assholes on Bluesky; I’m saying that assholes are handled better on Bluesky. There’s a relaxed Don’t Feed the Asshole vibe. Instead of trading insults or entering into pointless arguments with transphobic Nazis, users on Bluesky tend to just mute or block them. You can’t own the libs if the libs just ignore your existence.

It’s also nice to see Big Hat users (you know what I mean…folks who are well-known or famous in certain circles, and have hundreds of thousands of followers on Twitter, folks who wear a Big Hat) interacting with new users, especially when those users don’t know they’re Big Hats. On Twitter, you probably wouldn’t see Neil Gaiman helping a new user learn how to change his Bluesky handle to include his personal domain name. On Twitter you probably wouldn’t see somebody tell John Scalzi, “I followed you because you were kind and funny; I didn’t know you were famous.” That’s one of the things I’ve enjoyed the most about Bluesky–how accessible everybody is. It doesn’t mean people will pay attention to what you post (very little of what I post gets any attention), but it means you can easily find yourself asking questions about blue crayfish of somebody who turns out to be the Research Curator of Non-molluscan Invertebrates at the NC Museum of Natural Sciences.

My only real complaint with Bluesky is that I occasionally encounter users whose sincere preachiness I find mildly annoying…even when they’re right. There are folks who seem to seek out images posted without an Alt description in order to remind them (gently and with respect) that they really really should include Alt descriptions of images out of courtesy for visually impaired or autistic users. But even though I find it annoying, that’s probably the best way to change online culture. The sad fact is, some folks need to be reminded to be decent people. And (confession time!), I have to admit I never gave much thought to Alt descriptions before. Now I’ve set a filter on Bluesky that won’t allow me to post an image UNLESS I include an Alt description. That’s how Bluesky works; it encourages you to be decent.

I’ve been asked if Bluesky is supportive of LGBTQ+ communities. And the answer is no. It’s not merely supportive; it’s fucking celebratory. I’m not saying it’s an ongoing party, but there are corners of Bluesky culture that would make homophobes and transphobes really uncomfortable. Which, in my opinion, is another mark in its favor. It’s also nice that you can set filters that allow you to choose whether or not you want to see images of somebody wearing ass-less chaps and a sailor hat.

Also, there are lots of photos of dogs and cats (and sometimes the people associated with them). And for some reason, I see a lot of potato recipes. I’m okay with that.

Bluesky isn’t perfect. For example, there’s a noticeable absence of crow discussion. But the people here are tremendously enthusiastic, and that sort of makes up for the lack of crows. It’s that universal level of enthusiasm that makes Bluesky so attractive to me. Everybody here seems to be enthusiastic about something (like, say, star nosed moles). They’re also enthusiastic about creating a social network that is tolerant and accepting of almost everything except assholes.

As the site grows, it’ll change. It’s to be hoped that it will get even better, but that’s a gamble, isn’t it. For now, I’ve found it to be the most comfortable, welcoming, easy-to-use social network. It won’t suit everybody, of course, but I feel at home here.

EDITORIAL NOTE: Don’t forget, we need to burn the patriarchy. Burn it to the ground, gather the ashes, piss on them, douse them in oil, and set them on fire again. Burn the patriarchy, then drive a stake directly through the ashes where its heart used to be, and then set fire to the stake. Burn that fucker one more time. And keep burning it, over and over. Burn it for generations. Then nuke it from orbit. Then have tea.

keeping balance

I declare, it’s been a crazy couple of weeks. Between insane weather events, and imploding submersibles, and bizarre Russian semi-coups, and insane imploding bizarre Trump criminal developments, it’s been difficult to focus on a single topic for more than a few minutes at a time.

So I’ve been riding my bike. I mean, when you’re riding a bike, all the rest of that shit fades into vaguely annoying background noise. Like tinnitus. It’s there all the goddamn time, but you just sorta kinda get used to it.

Besides, I have a new bike. Well, it’s not new new. I’ve had it for about a month or so. So it’s still new. Newish. I’ve only put about 170 miles on it. That may sound like a lot, but when you do a few 20-30 mile rides interspersed with sporadically cycling back and forth to the gym, it slowly adds up. And because it’s a new bike and I’m still enamored with it, I’ve been photographing it wherever I’ve gone. Yes, that’s right, I’m taking pictures of a fucking bicycle. Which is just as ridiculous as it sounds.

This is my second electric bike. My first was a fat-tire bike; I described it as the best purchase I’ve ever made. That’s still true, although I sold it when I bought my new bike. It was the best purchase because it allowed me to enjoy cycling again, after years of NOT cycling (because of knee pain). It was a big bastard of a bike; it could go anywhere, but it was cumbersome. The new bike–an Aventon Level 2–is more of a commuter bike. The tires are half as wide, and it’s a lot more nimble. It has a torque sensor instead of the fat bike’s cadence sensor (which will only be of interest to other folks who have ebikes), so riding it feels more like riding a regular bike.

But even on my bike, I can’t fully escape the outside world. For example, President Uncle Joe passed the infrastructure act, which means there’s been a massive increase in transportation construction and repairs, and that includes bicycle paths. Normally, there are a couple hundred miles of easily accessible, dedicated bike trails I can ride, plus all the local bike paths. But with all the new construction, a lot of those paths and trails have been disrupted. It’s a small, temporary inconvenience, and good for Uncle Joe and all…but it’s still annoying to set out on a ride, only to find an excavator has torn up the trail.

And I can’t exclude former President Comrade Trump when it comes to problems. A couple of days ago I rode down to a nearby reservoir, which is a popular sport for boaters, folks who like to fish, and birders. There’s a large paved parking area where folks park their vehicles and leave their boat trailers. As I was riding along, a couple of guys (white, short hair, in their 20s) driving a Jeep approached me, going the opposite direction. They slowed down, looked at me, and one of the guys yelled, “Fuck Ukrainian Nazis!”

It seemed like an odd thing to shout at a random stranger…until I remembered I was wearing a t-shirt with the Ukrainian flag and ‘Україна’ written on it. I’m assuming they recognized the flag, although I suppose it’s possible they were also familiar with the Cyrillic alphabet. I’m actually kind of impressed they recognized the flag; I don’t expect MAGA-Anon folks to have much awareness of geography or vexillology.

The incident put a very short-term damper on my enjoyment of the day. Maybe five minutes. It was just too nice a day to allow fuckwits to disrupt it. My biggest disappointment that day was arriving at one of my favorite bicycle bars and remembering they didn’t open until 1500 hours. There’s a pair of large open-air pavilions nearby, with restrooms and a public bike repair station, so I considered just hanging out for an hour or so until it opened. But home was only a couple of miles away, and I have a refrigerator stocked with an assortment of beers, so for once I made the logical decision.

Okay, I can’t write a blog post without getting at least a little bit pretentious. So here’s Albert Einstein, in a letter to his son:

Life is like riding a bicycle. To keep your balance you must keep moving

This is me, keeping my balance.

knuckles, back on the map

As some of you may know, Knuckles Dobrovic is the name under which I occasionally create photo projects on Instagram. This began back in 2013. I created the Knuckles alias to explore Instagram, to learn what it was and how it worked, and to do that without having my name associated with it. I thought it made sense to dissociate myself from the account back then; now it just seems silly. In any event, I created the account and began to compile a very simple project. I put a thing on a glass-topped table on my deck and photographed it.

South of Ulan-Ude, Russia

I did that for about a year, during which I realized how ridiculous it was to have an alias account. So I created an IG account in my own name. When Things on a Table was finished, I put the Knuckles account on a shelf and forgot about it. Except–and I realize this is also silly–I’d become attached to the name. So eventually I revived the Knuckles account for another project. And then another. This will be the seventh Knuckles photo project.

Arvik, Norway

Early on, I cobbled together some simple, flexible parameters for Knuckles projects:

  • It’s got to be simple (which means I won’t have to do a lot of planning or a lot of post-processing).
  • It’s got to be organic to my life (which means it’s something I can photograph during the course of an ordinary day — whatever that is).
  • It’s got to have at least one intellectual component (which is more accurately described as a pretentious bullshit element).
  • It’s got to be able to keep my interest over time.
Near Yotvata, Israel

Here’s a quick recap of the various Knuckles projects themselves with a link to a representative image from that project:

  1. Things on a Table — I put a thing on a table and photographed it.
  2. My Feet on the Earth — I took walks, stopping periodically to photograph my feet. I selected two or three of the images during a walk and created multiple exposure images.
  3. One Hundred Appropriated Google Street Views — This was sort of an homage to Hiroshige’s ‘One Hundred Famous View of Edo’. While playing the online game GeoGuessr (which involves finding a random location based on Google Street View), I made screen captures of interesting vistas. I converted those screen grabs into square black & white images.
  4. Slightly Dislocated — During the enforced isolation of the pandemic, I shot square format photos during my solo walks or masked errands. I diddled with the color a wee bit, digitally sliced the image in thirds, then re-arranged the pieces.
  5. Are Bure Bampot — I’d been playing Geoguessr again, and during a break I read something about Daido Moriyama, the godfather of a photographic style called are bure bokeh, which roughly translates as “rough, coarse/crude, out of focus.” That same afternoon, on Twitter, a Scots acquaintance referred to somebody as ‘a total bampot,’ which I was told means “an idiot, a foolish person, a nutcase”. For reasons I can’t explain, the phrase are bure bampot came to me, and I decided to follow through on it. As before, I made Google Street View screen captures of scenes and locations in Scotland. This time I modified them using the are bure bokeh style.
  6. A Red Wheelbarrow — This was another coincidental project. I’d encountered the early version of DALL-E, the AI application that generates an image based on a written sentence. I’d also recently seen a photo that fell into a genre I call Red Wheelbarrow photos. It’s not actually a recognized genre; it’s just a thing I’ve noticed. These are photos in which the emotional appeal relies heavily on a color/object element (this particular photo was sunlight falling on a green hat hanging on a doorknob). The name comes from the William Carlos Williams poem: so much depends upon / a red wheelbarrow / glazed with rain water / beside the white chickens. I entered that line into the mini Dall-E app, and it generated an interesting image. So I began a series of AI images of red wheelbarrows. That lasted until I was approved to work with the full DALL-E application. When I repeated the original text of the poem, the AI provided me with much more realistic image. At that point, it felt like the project was over.
Unknown location in South Africa

Now I’ve returned yet again to Google Street View with a new project: Bus Stops. I’ve always been intrigued by the bus stops I’ve encountered playing GeoGuessr, and I often pause long enough to get a screen capture of them. I’ve written about my fascination with bus stops before; lots of folks know about my interest. Recently an acquaintance sent me a link to a photo of a primitive bus stop in Turkey. It occurred to me that over the years I’d amassed a small collection of Google Street View screen captures of bus stops.

So I decided to do a quick search my old files and organize them. I found just over a dozen images of bus stops–enough to kickstart a new Knuckles project. It falls well within the Knuckles Criteria: simple, organic to my life, an intellectual component, and since I’ve been doing it haphazardly and thoughtlessly for years I’m not likely to get bored with it.

San Esteban, Chile

The intellectual component? A bus is the most democratic form of public transport. They’re most commonly used by the poor and working classes, but the bus stops for everybody. In cities it’s not uncommon to see people in business attire riding the bus to work. A bus network is fundamentally simple: a series of designated routes with consistent designated arrival/departure times and stable designated boarding locations with predetermined fees. It’s a predictable, reliable, efficient dynamical transportation system in which bus stops act as fixed point attractors. And if that’s not enough, bus stops are ubiquitous. They’re everywhere because a bus network is socially elastic–the design can be stretched to fit almost any community anywhere in the world. But stops are both local and global.

Outside of Petronys, Lithuania

You need more? Bus stops can tell you a lot about a community. Are the bus stops clean? Cared for? Are they in poor repair? Are they stylish or simple? Some bus stops have trash receptacles. Some are trash receptacles themselves. Some are shelters, designed to please the eye as well as keep riders dry and protect them from the wind. Some are purely utilitarian. Some are nothing more than a wide space in the road. You look at a bus stop, you learn something about the people who use them and the communities in which they live.

Bus stops are fascinating. But you have to look at them. So here…take a look.