This photograph currently appears in “The Portrait 2022” issue of the online journal, F-Stop Magazine. Let me tell you its story.
On April 25, 2019, just before noon, I was walking in downtown Bridgeport, Connecticut with a Canon 5D Mark III and the old “nifty fifty” (50mm f/1.8) lens. At McLevy Green, next to the Bridgeport Town Hall, a couple of people were playing chess at one of the concrete tables on the edge of the Green. . . .
. . .In dejection from all the awful and discouraging news about reactionary political victories, rampant viral sub-variants, catastrophic droughts, and increasing violence (as well as, for me, unhappy views about my own self), I found myself doing something that I’ve done on occasion over the years, especially under stress: I was hand-writing, long past midnight, a list of my favorite artists and mystical writers. That exercise can calm and comfort me. not just as an obsessive-compulsive ritual, but as a reminder of real treasures that I’ve been given, for inspiration and illumination.
In certain of these posts, I’ve put together two stories or quotes that go at one thing from different directions, or whose common ground isn’t obvious on the surface, aiming to spark for you some realization that can’t just be given or explained. This time, the two sets of words that I’ve joined come from two seemingly-almost-comically-different sources. The first is a poem by Juan Ramon Jimenez, the Spanish poet who won the 1956 Nobel Prize for Literature and was a leading figure in what is sometimes called (with good reasons, like the writing of his kinsmen Antonio Machado and Lorca). The second set of words is from a speech by the American comic actor Jim Carrey. Jimenez may not have had the same kind of extremely zany humor that Carrey has shown in his movie and TV career, but Jimenez was anything but a stiff. One of his most wonderful books is a work of prose, Platero y Yo (Platero and I). Platero was his donkey.
I’m not sure about the answer to the question posed by that photo title, but the news that I just received about the image may help me from having to … Continue Reading Good News about Photos That Mirror Bad Times
If we really want to honor those whom our country has sent to war, we should honor their suffering, which usually goes on long after they’ve returned from the killing fields. And we should mourn the lives that they destroyed at their country’s command in what may have been a war of aggression for an unjust cause, as in Vietnam and Iraq (or, for Russia, in Afghanistan and the Ukraine). And we should do a much better job of caring for them once they’ve returned to us, providing the treatment and care and training that they need, instead of the all-too-often shameful conditions that exist in the institutions that we’ve set up for them to stay in if they need such shelter and therapy, and if they have nowhere else to go for those essentials.
. . . With some difficulty, that’s what I’ve been doing. Concentrating on healing, living in some ways like a mole. I’ll wait to see what the world looks like when I can poke my head out again and peer around. I’ll see what I seem like to myself after time in this underground burrow. I’ll see what guidance comes to me about what God wants me to do in the new spring.
In the meantime, though, I see no reason not to send out Springtime greetings to you. Here’s something that will probably seem a little different for me. . . .
The poet, essayist, translator, and magazine publisher and editor, Robert Bly, died toward the end of last year. I think it’s unfortunate that he became best-known as a father of the “men’s movement,” because in the public’s mind that overshadows his tremendous contributions to American literature. His literary work in all the capacities that I just listed had a tremendous and priceless effect on me and others, opening up the cloistered world of an American poetry controlled excessively by stiff-minded academics to the timeless and global world of a poetry of imagination and spirituality, of what Bly called “news of the universe.”
I’m writing to tell you that I’ve significantly redesigned my photography website, and I’m happy to say that I think the new rendition is much improved in terms of immediately showing you the qualities and variety of my work, and in making it much easier for you to see what’s available on the site and how to get to it.
I want to introduce you to a new portfolio of mine: “Towers and Devices of an Alien Race.” But I don’t, don’t want to squeeze it into an ill-fitting box of conceptions or drown it in chat about techniques or influence. Still, I want to tell you a few of the thoughts and feelings that I had in making these works.
In going through some boxes of my books, I unearthed a couple of treasures that I hadn’t seen in oh-too-many years. (Too few shelves, too little time!) One of them, called Dialogue with Photography, is a collection of interviews with master photographers. . . The book is filled with rareties and realities. When Imogen Cunningham is asked if Edward Weston ever bought one of her prints, she replies that he never had enough money to buy anyone’s work. In this and later posts, I’ll share with you some passages that I like especially, beginning with this from the wonderful Robert Doisneau. . . .
Recently, my wife and I watched a 1980 documentary about the avant-garde composer and musician, and idiosyncratic, self-styled visionary, Sun Ra — Sun Ra: A Joyful Noise, directed by Robert Mugges. The life of outer space and the mythology of Ancient Egypt were touchstones for Ra, acknowledged sources for his music, self-image, clothing and stage settings.
. . . But now I’ve posted a new – well, almost completely new – portfolio on my photography website, called “At the Parking Lot on Center Street.”
Its previous incarnation, “A Brief Walk on Center Street,” has been largely replaced, and what hasn’t been replaced has been re-edited. When I took the original photos, mostly impromptu, I didn’t have with me the gear that I really needed for the “job.” From time to time in my pandemic confinement, I thought about getting back and doing the work better. And the confinement gave me the opportunity and the obsessive push (how many photography videos did I watch, sometimes more than once!) to explore new gear, new techniques, new software, all of which played roles in producing this portfolio.
Fire has often been not just a symbol of the holy Spirit, but its embodiment. . . Even fewer people will know what faith and fire lay behind the phrase “Chariot of fire.” It refers to certain events concerning the prophet Elisha, told in 2 Kings 6:8-17.
I wrote to you about the story of the cat at the heart of this photograph, but why is the cat wreathed in flames, and why don’t they consume him? I’ll respond to that now, not with pretended analysis or explanation, but with a kind of “Biography of Fire.” . . .
As I said I would, I’ll write to you soon about the Fire in “The Friend Who May Not Seem a Friend.” But I have to share with you first an exceptional, timely gift that came to me this week.
To understand why I show you this carved cat in flames, you need to know that my childhood was plagued by sweat-through-the-night terrors, terrors that could take hold even in daytime. . .