I roam the streets a lot. I mean roam in the sense that together with my camera I’m always looking for that great moment when the time and effort spent in the search is rewarded by some great photographic scene. This is the case in pretty much every city I visit, but more so than most, in the area where I happen to live, which is a stone throw away from downtown Washington, DC. Looking at the thousands of photos I’ve taken over the past few years, however, has revealed some key information about my photographic taste, but more than that, about the places I seem to prefer when out with my camera. From this data, it appears that photographically speaking, my favorite place in the city is the Georgetown neighborhood. And no, it has nothing to do with the Georgetown Cupcake store, that pilgrimage destination for sugar lovers everywhere. Well, at least not entirely. Let me explain.
Georgetown could be a city in its own right. An expensive one, mind you, but kind of in the way that Rodeo Drive has its own identify that sets it apart from other places in LA. It kind of pulls you in, and for reasons that have nothing to do with the balance on your credit cards. The reason has to do with atmosphere, with je ne sais quoi, and with the undefinable vibe. Charm? Well, there’s plenty of that too. Ok, if you need to know, with endless coffee shops, slick restaurants, plenty of bars, boutiques, and great city views too. It’s all there. Toss in a never-ending parade of beautiful and disheveled people, and the unique neighborhood brew is completed. A photographer’s dream, even if most people there would rather you never photograph them. But if it is your glam side you want to strut in the city, Georgetown, with its swanky shops and riverside promenade is the place to do it. Just watch out for those sneaky photographers trying to take your picture.
This will be another of those “photographers are weird people” kinds of post. Its origin started with a recent realization at the Hirshhorn Museum downtown Washington, DC. I love museums, and that is why during one of the coldest days of this winter, I decided to visit (ok, if you really need to know, I needed a warm place) this eclectic museum to see their new exhibits. If you know the Hirshhorn, you’ll know that it is the kind of museum that challenges that strange part of your brain that is not used very much, but which when engaged, turns your reality into something that takes some getting used to. Translation: I love the place. But there’s where this sort of epiphany took place. You see, like the museum’s split reality, I too possess a kind of split view of the world: one with camera on hand, the other sans camera. With a camera, it seems I only visit museums to observe other people observing the museum art. People, all of them, become part of the ongoing exhibit, with one lacking any meaning without the other. Take that camera away from me and suddenly I become Joe the art critic, with eyes only for the inanimate objects (excuse me, art) found therein. Weird? Perhaps a little, but it is what it is. The camera, like a window for a writer, transforms you somehow. It pulls something from within you that affects your vision of the world around you. It makes you see the human ecosystem as if you were wearing X-Ray glasses. See deeper, see more. A walk through a magnificent visual door that will allow you to hold on to that saw forever.
Like just about every day, I went walking today with my camera. When I do this, I typically bury my cell phone somewhere in my camera bag where it is very hard to access. I do this because I’ve come to realize that the whole purpose of being outside is to see and feel what’s going on around me. I want to disconnect from electronics and connect with the world that keeps on moving in spite of our interest in joining it. Perhaps this is a photographer thing, but I don’t think so. More than that, it is a fascination with a world that is alive and in motion, a world where glances still hold unspeakable mystery, and where human energy continues to create all things wonderful and all things bad. Humans, in all their shapes, forms, and behaviors are the stuff of life.
That is why it is so hard to positive spin on the modern phenomena of the connected disconnected. The being there in society, but not there at the same time. Like the young man in the photo above, to be actively linked to the faraway world via a cell phone, but totally uninterested in the the world that sits just a few feet away. Connected, but disconnected. A statement about our modern digital generation, I guess. But perhaps, if he would have only glanced up from the screen for a moment like she did to make eye contact, a whole new world connections would have been possible. They shall never know, for at no time did he raise his eyes in her direction. Connected, disconnected. A new form of normal.
Lately I’ve talked to a few folks that seem somewhat morose about everything that’s going on around them. You could actually see the burden on their shoulders, not to mention their cautious, hesitant steps. It is as if this hyperactive world is finally beating them down, leading to conversations long on medical tests and anxiety about a world that has seemingly gone mad. Too many travel warnings, too many terrorists, too many lying politicians, too many medications, and too little time to live a little. It’s all kind of depressing, to tell you the truth, and if you let these worries get into your head, it won’t be long before you convince yourself that life is nothing but a mad dash downhill to the end of the road. What’s so fun about that?
The antidote to all this is nothing less than focusing on always going uphill, rather than downhill. That’s right, struggle more, not less. Celebrate your ignorance, because there will be so much more to learn, but do get on with it. Look in front of you and plan your next move, be it learning something difficult or doing something challenging. Get rid of negative talk and fix your eyes on the hill ahead, no matter how high it is. Look at the stars above and not at the dirt below. Live for the joy of living, and never take that dreaded downhill road. Others have tried that route, only to discover that it leads nowhere. So cheer up, look up, and push up that hill with gusto, because it is along that road where great things always happen.
I am here today to defend the proposition that there is no better part of the day than the early morning hours of a day. That’s right, I am taking a stand. And yes, this is a subject that is much ignored by most folks, but in the name of the pursuit of happiness, I feel that it is my duty to openly declare that those fleeting hours when the sun begins to appear over the horizon are about as close to heaven as we will get on this earth. They are poetry incarnate, manifesting a choreographed rhythm replete with rituals, lights, beginnings, and discovery. When we wake up (and no matter our speed of movement), we tend to do the same things every day, even if during the rest of the day we proudly profess not to be the victims of routine. It is those little things we do without fail that make morning so special. Eyes opening with the first light, setting those same eyes on a loved one, laboring in the kitchen, and going through our mental checklist for the day. It is busy time, but busy with new beginnings and the hope that today will be better than yesterday. So there you have it: I’m officially issuing the “morning is best” edict, so we all better start enjoying them a little bit more. Still skeptical? Just ask the fella sitting at that bench.
Ever wonder about what it takes to make a great photograph? Well, join the club. There is no question that photographers, at their core, are shameless dreamers. They constantly dream of that photograph, the one that will set them apart from others, the one that will surely bring recognition for hours of tireless devotion to their craft. Countless times a day the topic so expertly depicted by Émile Zola in his 1886 novel “The Masterpiece,” is played in the minds of photographers all over the world. In his work, Zola presented us with an artist who, in his own mind, found it impossible to live up to his own imagined potential. Nothing he did was good enough to be called great, or lead to the immortality he so desperately envisioned. That the artist drove a few people crazy in the process (not to mention himself) was a given, and no matter how good his work was in the eyes of critics and observers, the artist always found it lacking. Something, something impossible to ascertain with any degree of certainty, was missing. Frustration reigned, and professional emptiness was right there by its side.
But Zola, in his genius, also provided us with the other side of the coin. That is, with the life of an artist who very early in his career created his greatest work and who went to live a long, unhappy life trying to unsuccessfully reproduce his early achievement. Critical greatness visited him before he felt he had achieved the pinnacle of his art; his sudden, and early acclaim condemning him to a life of denied recognition past his initial masterpiece. Nothing he did was to be as good, or memorable, as that earlier work, and the voices in his head never ceased to remind him of his lifelong descent from that early, momentary glory. It speaks to Zola’s greatness that he was able to represent so vividly the many, and often conflicting emotions that live inside an artist’s mind.
And so it seems to be the case today with photographers and their work. The Internet is full of tales of photographers stating that they went out on a project and took thousands of photographs, but at best, they only liked a handful of them. The rest? Just not good enough, or memorable enough. Ask any photographer to pick a photo that they would consider to be their masterpiece (apart from Steve McCurry and his Afghan Girl), and you will witness human contortions that would put Cirque du Soleil to shame. No, we’re not a happy lot, or to put it better, we’re not a very satisfied lot. That great photo is out there, and if it takes a lifetime to find it, that’s OK with us. And what about that magnificent photo you took that everyone seems to like so much? Sure, it was good, but not the best. The best is still out there, hidden in plain sight, and there’s no time to waste in our never-ending chase. In the 1964 words of Supreme Court Justice Potter Stewart when describing how he could tell something had crossed the threshold into the seedy, we tell ourselves that “I’ll know it when I see it.” And even when our eyes have seen so much over the years, the idea that we will recognize our masterpiece when we see it continues to dominate our photographic minds. Like Zola’s protagonists, we convince ourselves that this is a decision for us to make, when all along, and in keeping with the nature of any art, it is always a decision for the audience to make. Like Justice Stewart, they will know it when they see it, and there’s not much an artist can do aside from trying to create the best work possible everyday of his or her life. I guess Zola figured this out almost 130 years ago.
Speed. What a noble virtue. Its need is everywhere, from computers to transportation. It saves time, it shortens the undesirable, and it allows us to accomplish a lot more in the limited time we all have in our lives. It is an adrenaline rush too, quite dramatically illustrated in blockbuster movies like Top Gun and the myriad of action movies that inundate our daily consciousness. Smell the flowers? You kidding. Who has time for that?
Well, as it seems, a lot of people do. In the last few days I have been concentrating my photographic time on the number of people that I constantly see moving in what for lack of a better term I’ll refer to as “the slow lane of life.” To a large extent, this slow road exists in somewhat of a parallel universe in society, dictating its own rhythm, its own sense of urgency, and its own rewards. It is not characterized by what it manages to accomplish in a short period of time, but rather by what it manages not to do over a longer period of time. It is subtraction, not addition; forsaking, not gathering. It is finding time instead of lamenting not having any. It is admonishing Seneca’s observation that the lack of time has more to do with how much of it is wasted than with how little of it is available. It is a road as real as the busy one our lives travel on, and it is always there, whether we’re conscious of it or not.
Interestingly, there was a time when I thought that the glorious “slowness” was only possible at life’s extreme ends. That is, when you were very old and financially comfortable (that is, whey you begin to talk about your days being numbered), or during your youth, when someone else took care of the bills and most of life’s worries (when we all believed we had all the time in the world ahead of us). In my mind, the middle was made for the fast lane, for the never-ending “too busy” lamentations, for the social fly-by’s, and for dreaming about that distant, slow lane. The rose garden? Nope. No time to plant it. Need to get going. And so it went for far too many years. And why not? Everywhere I looked people were traveling at the same rate of speed, down the same rocky roads, and in the same general direction. This was normal, and everything else seemed, well, abnormal, or at the very least, too far out in the future. It was all an exciting, zero sum, high-speed journey that if left unattended could have culminated many years later in a place that no one really wants to arrive at: the valley of regrets.
One day, however, I dared to take my foot off the accelerator in order to experience the effects of deceleration on the trajectory I was riding on. I slowed down, took a detour, acted on one long-neglected dream, and surprised a loved one in the middle of the day. Deceleration made it all possible, and clarity, its inevitable result, did its part in dissipating the stubborn forces of obfuscation and neglect. No longer would I drive past that farmer’s produce stand in order to lament later of not having had the time to stop. No, that story was changed to the great time I had while shopping at that very own farmer’s stand during my busy day. I also made it a point to never talk about that abstract walk in the park everyone talks about, but never takes. No, my story changed to how incredible it was to find the time to walk along the the carpet of fallen, yellow leaves that infuse such a bright, golden hue to a cold, autumn morning. Moreover, I made time for my friends so we could spend long hours at the dinner table solving the problems of the world over multiple bottles of wine. And without a doubt, it was a lot more meaningful to say “I love you” to the one I love while staring at her eyes rather than texting the words, Emoji in tow, over an impersonal data network of bits and bytes.
Time. Speed. Contemplation. Obfuscation. Neglect. Love. They all do battle in our busy lives. Some of their challenges will be conquered by speed, others by simply slowing down. And just as it seems impossible to always travel at high speed down the proverbial road, it appears just as unrealistic to spend a lifetime on that slow, off-the-beaten-path lane. The secret in dealing with this dilemma may lie on both sides of the spectrum–on the adoption of a “variable speed” approach to life. Never accelerating without a well-developed plan for deceleration. Never decelerating without accepting that in life, even the good things often require a little acceleration on our part. The concepts are not, and should never be, mutually exclusive. Perhaps, and this may be mankind’s eternal hope, meaning and happiness will be found somewhere along that continuum. And at every one of those critical junctures along the way, changes in speed, and the detours we dare to take, will dramatically increase our chances of finding the cherished moments that will weave the incredible stories of our lives.
It was the very talented Indian writer Faraaz Kazi who authored the words that introduce today’s blog. Recently, I just happened to come across a reference to this author, and upon digging a little on the Internet, I stumbled upon his full quote, which goes like this: “I inhale loneliness like it is the sweet smell of virgin earth conquered by fiery rain drops. Within me, I’m a thousand others.” Suffice it to say that I suddenly smitten when I read that last sentence. Six words, but within them one of the best depictions of the power of our imaginations that I’ve ever encountered. Moreover, I realized that these words were very applicable to some of my recent photos. For some reason or another, I found myself taking photos of people who in the middle of a buzzing city, appeared to be alone, or alone with their thoughts for that matter. Immediately after reading Kazi’s quote I started thinking of these photos and how his words seemed to apply to the scenes I had captured with my camera. Detachment, solitude, disengagement, and perhaps a thousand other realities becoming active in people’s imaginations. In those brief moments when I pressed the shutter, endless flights of imagination could have been taking place, hidden from the world and unencumbered by its limitations. At some level, the photos were merely an attempt to depict the kind of “me” time that only solitude can deliver, and where anyone can become anything they dare to imagine, even if that means a thousand other versions of themselves. Maybe this was not what was happening inside the minds of my photographic subjects at the time, but the romantic in me cannot hold back from wishing it was so.
I have long been fascinated by the notion of capturing urban serenity in my photos. Not that I’ve always been successful in doing so, but rather that I enjoy looking for these types of scenes as if with the devotion of an astronomer looking for a new star. I know these scenes are out there, but my eyes don’t always see them. This is not for lack of trying,mind you, but rather that in the visually oversaturated environments of our modern cities, it is not easy to avoid visual distractions. Sort of like trying to write the next, great American novel in a room full of people who insist on constantly talking to you. Not easy, to say the least.
The challenge of capturing an image depicting urban serenity is compounded by the fact that most of these scenes can only be found in a portion of our natural field of view. That is, they hide in parts of what we see, not in all we see. Sometimes they may not amount to more than 10-20 percent of what’s in front of us, off to a corner and easily overshadowed by the more visually-demanding center of the scene. From the photographer (or the creative), these hidden gems demand a certain level of visual cropping–the ability to segment a scene into smaller micro-scenes that could stand visually on their own. It is the proverbial needle in the haystack challenge, and it’s never an easy one.
There is also a certain calm in those scenes. Like the quiet person in a busy room, they can’t help but attract your attention in spite of their best effort to be ignored. They attract us because they engage us, they make us think, or at the very least, imagine. And even if for a brief, but precious moment, what better place to live than in our imaginations.
If I ever were going to attempt to write romantic novels for a living (don’t worry, I’m not), there is no doubt in my mind that I would do so from a place like Como in Italy. This sleepy, little town by the shores of the lake that takes its name, Lake Como, is everything you can imagine of the romanticism of a bygone era, and then some. What is it with these northern lake regions in Italy and southern Switzerland? To say they are beautiful doesn’t even begin to describe them, because they are so much more than that. In fact, I had once heard a Swiss actress in America say that she returned to her small village in the area every year in order to recharge her spirit. And now that I have had some time to wander in the area from Locarno in Lago Maggiore to Como, I now fully understand what this actress was talking about. Life at a slower pace, natural beauty beyond description, and some of the most wonderful food in the world combine to form the perfect antidote to all that ails us in our busy, chaotic lives. I may not know how many places in the world possess such wonderful potion, but Como definitely has its share of it.
Como the town is not a big place, but three main areas seem to dominate the region. For starters, there’s Lake Como with its postcard-perfect landscape. This southernmost part of the lake is quite a busy place, with ferries taking passengers to other famous towns around the lake and lovers slowly strolling down Lungolago Mafalda di Savoia as if oblivious to the world. The lake and its indescribable scenery are nothing short of visual candy, and sitting by that shore on a perfect spring day will be all the proof you’ll ever need that it is possible to be happy in this life.
The other two main areas in town are the city-center square, Piazza Alessandro Volta, and the imposing Cattedrale di Como at Piazza Duomo. Both extremely impressive and surrounded by small shops and quaint restaurants where you could easily pass the hours away with total disregard to time. In between these two, an old-world paradise for the senses makes sure that you never move at a fast pace while you are in town (which the many cafes in the area would’ve guaranteed anyway). Stopping every few steps to gawk at some window display while stopping yourself from spending your retirement money becomes virtually impossible in Como. This is what Italy does to you, and we love her for it.
On the train back to Milan I couldn’t stop thinking of how beautiful this country is. Sitting in that train longingly looking out the window to the passing countryside before me, I couldn’t help but think that I had just been to one of the most wonderful places on this planet. And as the train got farther and farther away from Como, the famous words of composer Giuseppe Verdi kept replaying in my head: “You may have the universe if I may have Italy.” My sentiments exactly.
There is something to be said for purposefully changing the way we see. Not that there’s anything wrong with the “panning field of view” approach that characterizes the way we see most things on a daily basis. Rather, the point is that within all those daily panoramas there are endless opportunities to adjust our visual gyroscopes in order to add a little spark to our visual enjoyment of life. This take on our visual world is nothing new. After all, most people already do this, albeit somewhat unconsciously. It happens whenever they adjust their positions to “get a better view,” or when they take the elevator to an observation deck in order to see the world around them from a different vantage point. Something deep inside us all gives rise to the desire for visual adjustment, and whether it is the result of simple curiosity or much deeper emotions, it nevertheless represents a transition from a less-fulfilling state to a more fulfilling one. It is positive energy at its best, and we all know that we could use a lot more of that.
Seeing differently, however, does not come without some effort. Just like it is imperative to climb a set of stairs before enjoying a view, there are some stairs to climb when adjusting the way we see in that crazy world around us. But what really matters in the end is that the rewards of such climbs are incredibly satisfying. They just take a “change in latitude,” like the common saying says. The few photographs on this week’s post are the result of some of those changes in latitude–simple attempts to see the familiar differently. As if out of nowhere, the old became new, and the familiar revealed itself in a brand new light. I immediately came to the realization that these scenes were there all the time for someone to see them, provided that someone took the time to look.
Photographs with lots of dark, contrasty areas are not generally my thing, but sometimes I can’t help but be intrigued by the mystery they convey. Not that I’m out to capture such photos as a matter of routine. In fact, more often than not they just happen without any degree of planning. Such was the case with this photograph, which I captured upon entering an indoor business plaza and seeing the gentleman walking down a dark, arched hallway. The photograph just emerged in front of me, and before I knew it, I brought my Leica to my eyes, focused, and hit the shutter release. Did I forget anything in the process? Yeap. To my surprise, I had failed to worry about two of the key components of a proper manual exposure: aperture and shutter speed. Being quick kind of took over from being perfect, but the results truly conveyed the mood of the scene that had unfolded right before my eyes. Perhaps there is some merit after all in the absence of perfection. I need to remember this more often.
While most people around the country imagine the glamour of working at a big city like Washington, for many of the local bureaucrats the magic seems to have faded a little. Not that the so-called power lunch is a thing of the past, but rather that the road to the inner circle appears to require some time on a bench like the one depicted on the photo above. But in a city where who you know is more important than what you know, the distance from that bench to a table with a white table cloth and expensive silverware could indeed be a short one. Better keep those eyes open and that suit pressed just in case.
Afraid to talk to strangers? Convinced that most people out there are not very nice? Well, think again, because my experience is exactly the opposite. Whenever I’m out an about with my camera, I do get my share of rejections when I ask to take someone’s photograph, but in most situations (and provided you ask nicely) people are extremely nice about it. Show some sincerity and tell them why you would like to take their picture. Never lie about it, and if necessary, offer to send them a copy of their photo. Over the years I’ve come to realize that the pre-selfie generation doesn’t appear in too many photographs. That you find them interesting and want to photograph them is quite flattering. Think about it. When was the last time someone stopped you on the street to say that you looked great and they wanted to take your photo? OK, never in my case, so that’s why I’m convinced that it would be quite flattering if someone did. I won’t hold my breath, though.