Monday, February 13, 2012

Seniority


What is it about living with the aged that makes it so hard? Is it the constant repetition? The view of what's coming up ahead for oneself? The loss of freedom, of independence, hard won after years of raising children? I often hear aging - and in particular, increasing levels of cognitive impairment - described as something like a recurrence of childhood. But my close-up observation of the past 17 months suggests nothing of the sort. Children possess a constantly growing intelligence and driving curiosity. Every day, among the endless aggravations and burdens of parenting you're rewarded by the energy and imagination and frequently verbalized discoveries of your children. The reverse is not at all the same. The shutting down of imagination, the loss of the ability to reason, and the decay of memory is simultaneously saddening, frustrating and boring. There are never breakthroughs, only breakdowns.
My mother-in-law, a sweet natured, highly intelligent, but hopelessly passive and emotionally dessicated woman, was always the most singularly boring person I have ever known. Her interests have never extended much farther than monitoring the activities of her family, either those related by blood or by law, and by extension the families of others. Though she loved to watch movies and read novels, she never had anything to say about them. (I use the past tense because these activities have become rote. She still likes to watch movies, but invariably finds them "a little too confusing" and though she still reads, she retains almost nothing, the words seeming to pass into, through, and beyond her consciousness as soon as her eyes scan them.) A member of a significant and far-flung Argentine family, she has traveled the world, but only to visit relatives, never to experience a different culture or environment. She was never interested in trying new things and lived for 40 years in the same house without ever getting to know any neighbor who did not come knocking at her door to seek her out. At 90, she has become emphatically more of the same.

 While my wife works her 60 hours plus per week job, I, as the under-employed, home-based spouse have picked up many of the day-to-day management issues. I contend with the slow, machine-like repetitiveness of her schedule. The quirky, anti-social, hermit-like habits developed over 40 years of living as a divorced single. The daily dinners, with the identical salad she arduously prepares each evening, carefully peeling the celery, de-seeding the tomatoes, de-veining the lettuce, meticulously removing all texture from the ingredients. Dinner with the three places she sets at the table (though my wife never joins us, always working until 9 or later) and the dinner I cook. At least 450 dinners that I have cooked, and eaten with her (more dinners in this year and half than my wife and I have shared in more than six years), with the almost identical conversation ("Have you heard from the kids?") There is the five to seven hours of television each day, consisting of mind-numbingly, moronic "reality" and game shows (who knew that there were so many "Judge" shows? Has Pat Sajak always been so patently bored?) Hearing them in the next room as I try to work, I find it making me depressed about the whole future of Western civilization.

My father followed a similar course, receding gradually into a land that consisted of endlessly unique and uninterpretable moments with no remembered progenitors and no known outcomes. But I did not live with him. I did not experience this for hour after hour each day. When I stayed with him for a week a few months before his death in 2006, it was shocking how vacant his personality had become, only glimmering through the closed door of his dementia at rare, surprising, and surprisingly delightful moments. Watching this process unfold at close range over an extended period with my Mother-in-Law has removed the shock and replaced it with unwarranted frustration, anger, depression, and occasionally pity. I wonder if my fixation on her condition is an escape from the discomfort of my own hapless ineptitude at re-establishing my working life in a new(ish) place, my own inability to break out of my current predicament - that she looks like what I see myself becoming?

Though always notably affectless (at least notable to someone like me, raised by a highly emotive Italian mother) she was always kind, always gentle and always self-sacrificing to a fault. To a real fault. During our children's elementary school days, her semi-annual visits were rare breaks for us, when she took over the cooking, child-care, and much of the cleaning duties. As the years passed, and this help wasn't really needed anymore, she was unable to stop, and it became clear that this "help" was far more important to her than to us. When she moved in with us after a fall that left her with a fractured pelvis, she attempted to resume this routine as soon as she was able to walk, but by this time, the constant straightening and cleaning had become a fixation that was both irksome (since the "straightening" usually resulted in the chaotic misplacement of all sorts of things, and the cleaning didn't clean) and disturbing. Eventually it became clear that she needed to move. We rationalized our decision with the perfectly defensible argument that if she did not move into an independent housing situation (where the costs for her care would be stable from this point on, through assisted living and eventually to nursing care) while she was still able to manage, more-or-less, on her own, she would not be able to afford these more intensive care situations when the time came.  And this is absolutely true - and it is care that we cannot afford or provide ourselves. But the truth is that my wife and I were going slowly mad. Our privacy was completely gone, our social events always included this person who was not so much a friend as the parent we moved out of the house to get away from 40 years ago. Someone who was always there, 24 hours a day, 7 days a week. It was small of us, maybe unfeeling. But it was also a situation that we had tried for years to avoid, and one that was created largely by her unwillingness to make any plans for her infirmity when she was still capable of making them - despite the repeated entreaties of her children and friends.

This weekend she moved into an independent living facility. Her new apartment is sunny, modern, and far more luxurious than the beloved house she left behind in California, and it is filled with the furniture and pictures from her house that were stored in our basement until now. But I know that she would rather be here with us, sitting in her enormous, electric recliner in our den, part of our "family", happily oblivious of the stress she has introduced. I feel like a shit. But maybe I will drink less now. Maybe I will work more now. Maybe I will become different and not become her.

Wednesday, October 12, 2011

That thing Matt Said...

I wish that I had become a “Concerned Photographer” like some photojournalists. It’s not that I don’t love street photography, but I think most of us would like to make a difference with our work, even though as a street photographer, its almost impossible in the first place. - Matt Weber to Bryan Formhals

When I started taking pictures, documentary was the mode that influenced my approach and that of most of my friends. Our models were the FSA guys, or Atget, every bit as much as Winogrand, Friedlander or Arbus were at that time. Maybe even more, since the newer guys were so hard to emulate without imitating. I've said in other contexts that I'd never heard the term "Street Photography" until I subscribed to Flickr, and that's true. HCB was a brilliant photographer, but he was also, importantly, a photojournalist. Just walking around on the street photographing was interesting and produced the occasional show stopper (and as Bryan says in the interview, it was a place to train your reflexes) but it didn't seem "serious" enough. So I get it when Matt says that thing about Concerned Photography, and if anything it tells me that we both came from the same generation. I was forever inventing projects and trying to pony-up documentary themes - whether they were anthropological, historical, sociological or journalistic. Anything to focus my attention and link me back to reality - to recording what was actually there in front of me.

Church interior. Alabama or Tennessee. Walker Evans, 1936

But of course, that wasn't really what I was doing. What I was really trying to do was get great pictures that looked like reality. And there was never a doubt that, whatever Roy Stryker may have been thinking, getting great images that evoked the aesthetic of Flaubert was what Evans was after (well, he said as much), and that Russell Lee was sure as Hell aware that his flash-lit shots inside of people's houses were the essence of the surreal, and that Ben Shahn was exploring a randomness that foreshadowed Winogrand's later aesthetic far more accurately than anything HCB had done.

Amphitheatre, county fair, central Ohio, 1938. Ben Shahn


The concerned photography thing is about changing the world, but it's rooted in the idea of documenting the world that needs changing. And it turns out that whether you're trying to change the world or just make great pictures, if you bother to include the world in your pictures at all, the documentary thing pretty much takes care of itself.

Children taking bath in their home in community camp. Oklahoma City, Oklahoma, 1939. Russell Lee

Wednesday, October 5, 2011

Fast or Slow?

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As I sit here avoiding starting on some work that actually involves some monetary remuneration, I'm thinking about the camera I just bought (well, as a matter of fact, my mother-in-law bought it as a birthday present for me) and why I decided to get it. When given the opportunity to buy a new camera (and one that was under $1500) I was torn between going small and digital, in particular the new Fuji X-100, or larger and film, to a Mamiya 7. I ended up opting for the Mamiya, yet remain sort of torn.

The decision is a perfect manifestation of a kind of yin-yang I've struggled with forever. Be impulsive, quick, reactive, and technically simple; or be slower, more careful, more contemplative, and more visible. I have always been much more the former than the latter, and not just with photography. But I always want to be the latter. I like those kinds of photographs and have frequently been guilty of trying to make them with my Leica. A few years ago a close friend bestowed his Hasselblad 500C on me and though I've gotten fond of it, on many occasions I still feel cramped by the square format, and even more frustrated by the comparatively deliberate shooting style it requires (staring down into the viewfinder, focusing with its little magnifying glass, which still barely helps when I use the fabulous 50mm Distagon lens my friend also put on permanent loan to me). But however clunky and difficult I find it, I've also noticed that it works. That for the amount of film I put through it, there are a surprising number of decent pictures. It forces me into a completely different place as a photographer. I haven't found a way to make a discreet picture with this thing. If people don't acknowledge me pointing the camera at them, it's because they're choosing to ignore me, not because I'm quick or agile. I'm almost never comfortable with the interactions I have with the strangers I photograph (when I use the camera to make photographs with people in them) - I'm really not a touchy-feely person, and I'm acutely aware when photographing outside my socioeconomic stratum that I'm essentially a voyeur.

So the hope is that the Mamiya will bridge a gap. It feels much faster than the Hassy, and has a beautiful, bright viewfinder. It's quiet. We'll see. The lamest of rationalizations I came up with for going medium-format was that in a year, if I decide it was a mistake, the Mamiya will be worth more than a digital camera that holds its value about as long as a Coke stays fizzy.

Wednesday, August 24, 2011

Getting Past Katrina

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As we close in on the sixth anniversary of Katrina, I noticed something today. Something very small, and maybe insignificant, but it struck me nonetheless. For the past three years I have had an automatically generated set on my Flickr stream called "Totally Random". Each day it randomly chooses a set of 12 images from the entire Flickr stream. Every single day of that entire three-year period there has been at least one image of Katrina and its aftermath. Today for the first time, not one of the 12 images shows a flooded street, a boarded-up building, a flooded car, a collapsed building.

Friday, July 22, 2011

The 250th of a Second Coming

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Scanning and scanning in the widening gyre, the photographer cannot see the photograph.

I'm always amazed at how much farther away everything actually was. I'm always amazed that I can remember shooting almost every image on a roll of film that I shot months ago. Maybe the memory's wrong, but I still remember taking the picture. But I was standing so far away. How can that be? In my memory I all but smacked them with the camera as I raised it to my eye.

I like film because I have to wait to see the pictures. I always think they'll be better than they are. Something so disheartening about finding out how bad they are right away. Outside today, it's 104 degrees F. I don't think I'll go out shooting.

Scanning images is so tiresome - but when something works, so satisfying. But when it doesn't, so much effort wasted. Boring boring boring boring. People on cell phones. People walking with cell phones. People walking past giant blank walls. People walking and gesturing. People walking people walking and talking people walking. I really need to get out more often.

Friday, July 8, 2011

Thinking of Roethke

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To love objects is to love life. The pure shaft of a single granary on the prairie, The small pool of rain in the plank of a railway siding ...

For each act of my life there seems to be a necessary purgatorial period: even the simpler things, like going to the store. What a bourgeois I am.

Who hesitates is Fortune's also-ran. He never leaves who teeters on the sill. Once I was one: I can be one no more.

By light, light; by love, love; by this, this.

from the notebooks of Theodore Roethke, culled from "Straw for the Fire" by David Wagoner, Poetry, Vol. 105, No. 2 (Nov., 1964)

Friday, October 15, 2010

Inclusive vs Exclusive

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For most of my life as a photographer, which I think is probably most of my life, I've parroted the concept that more is better: that the more shots you fire off, the higher the probability that something good will get caught. But in practice, I've taken almost exactly the opposite approach. That is until about 1992, when I put the Leica away, concentrated on raising kids, learning how to manage computer systems and helping keep the household together. After that hiatus I started shooting again, and without realizing it began taking many more pictures than I had in the past. I'm still stunningly non-prolific. If I'm to believe what I hear from other photographers, my average annual output of about 4500 frames over the past six years is a joke, but it's a lot for me and I feel as if I've moved into a new era - that I've still got something , and that all of what I've accomplished isn't in the past.


But... In the last couple of weeks I've received requests for the use of some of my pictures in one-off publications (that almost needless to say pay no money to anybody and most likely lose money for the heroic people who publish them). A bunch of these are from my pre-1990 career, which means I have to figure out where the negatives are and rescan them to sufficient quality for print. What's been shocking is the realization of just how little I really was shooting back then. Even during the years when I felt like I was shooting my ass off, I was barely exposing 3000 frames a year. Many years it looks like I was shooting maybe 1500-2000. Something like 30-40 rolls of film. In the past 6 years I've shot more film than I did in the first 20 years I worked. Yet time and again, it's the work from the earlier period that gets the most attention. On my Flickr site, only 176 out 829 pictures pre-date 2004, yet 13 of the top 20 images in terms of "favorites" are from this group. This begs any number of questions for me, but the chief one is whether I've been going about it all wrong for the past several years.