While I Was Out

“Never” is a concept that tends to leave us mortals in the deep end of the pool, without our floaties.  The implausibility of “never” courses through our veins, singing in our ears with every heart beat, driving us to believe that it is impossible for life to end.  Whether it is heaven above or re-incarnation here, a continuity of living experience after death isn’t so much a hope as a well justified expectation, predicated on aeons of seasonal renewals which absorbed the yearning for divinity of our ancestors far longer than any of our most recent selection of deities.  With the apparently bottomless flow of time generously blunting both loss and triumph, “never” seems unlikely.

But of course, we are just playing hide and seek.  Inevitably, “never” will find us; life is composed of nothing but “never.”  It lives side by side with us, a parallel awareness counting the expiration of each luscious breath, patiently accumulating minutes on its side of the score card, waiting to welcome us with open arms, to discover what we’ve been doing, while we were away.

The Metaphor Tree

I have been visiting this yellow magnolia almost as long as I have lived in Madison, not to marvel at its admittedly spectacular blossoms of beefy petals, smelling faintly of Lemon Joy, and each almost as large as my hand; but hoping to find it drenched in buds, perched so bird-like that from a distance you could convince yourself you have heard them chirping, poised for a flight that begins with an unfolding.

Post Ironic

Since 1983 or 1984, my Two Guys Iodized Salt container has followed me wherever I have lived.  I did not buy it at Urban Outfitters, although I have no doubt that, if they discovered such a marvel, they would promptly appropriate and reproduce it until even Andy Warhol would cry “Uncle!”  In 1983, however, lacking access to marketing geniuses, we had to discover such things for ourselves.

Two Guys Salt was supplied in a regular order to the greasy spoon where my roommate was a short order cook.  When I saw the container sitting next to the grill, as I sat waiting for my order of ridiculously cheap, fresh biscuits and gravy with potatoes (remember carbs?), I could hardly contain my delight.  No one rolled their eyes (where I could see them, anyway) when I asked for a box, and my silly wish was granted.  I don’t remember if we used up the salt before I cut off the top, put my colored pencils and exacto knife in it, and called it “cool.”

Whatever the qualities I first saw reflected in the humorous name and vintage label graphics, my feelings for this souvenir have matured to true love.  Every time I have glanced at the red oval, imagining the wisenheimer who left their mark as “Two Guys,” I have inevitably imagined the girl who took home a box of salt, in her big winter coat, like a pearl beyond price.  She had a good eye.

Sharps and Eyes

Ever since I was a little kid, I have had a knack for threading needles – one act of hand/eye coordination that doesn’t suffer in myopia. Peering over the rims of my glasses, my uncorrected vision permitted bringing the needle and thread so very much closer to my eye than a normally sighted person, it was no challenge at all to hit even the tiniest target with a bare wisp of thread.  From this experience, I developed a wistful longing to explore that shallow world, just a few inches away from the tip of my nose, where my natural eye could focus, and both color and depth breathed in more vibrant dimensions.

So it makes sense that I am in crazy love with shallow depth of field, where surfaces move in and out of focus within a few millimeters of each other.  This really is my world, as I have barely ever seen it, one moment sharp and clearly defined, then slipping away like silk ribbon through your fingers.

Interior Lighting

I read a description categorizing photographers as “windows” and “mirrors,” the former creating photographs showing their inner world, the latter creating work which reproduces the outer world.  Of course, only someone who has never made anything could dream up such a meaningless distinction.  All images are windows, illuminating the interior for others to see (and in my case, this means, seeing the stuff lying around my house.)  You can come in, just as long as you don’t expect me to vacuum.

Un-Made

Buying a lens forces the issue, which is: you can’t make every picture.  In fact, as far as I can tell, statistically speaking you can’t make any pictures at all, no matter how many you shoot, when weighed against the infinity of possible images in a given day.

But I could make this picture, and I sincerely mean it – every word.