Wednesday, February 22, 2012

EYE CONTACT


EYE CONTACT


During the summer of 2011, a very large female preying mantis took up residence next to our front steps. For several weeks she was a fixture in the leaves of a plant next to the railing. She was a formidable looking creature who didn’t seem to be in any way afraid of us, and her lack of fear was in evidence on that day that this photograph was taken.


The kids had managed to catch her. Now, this wasn’t exactly any big feat – firstly, the kids are avid and skillful bug catchers, and secondly, the mantis, with her aforementioned fearlessness, hadn’t been hiding in the bushes, but had instead been sitting proudly and confidently on top of them. Anyway, there was much excitement and a perceived need for documentation, so out came the camera.

A mantis is a big bug with big eyes, an insect that moves with seeming purpose and intent, and it would be all too easy to attribute to it a set of human motives. The scientist in me knows better than to anthropomorphize the mantis in this photograph, knows that it is impossible for me to know what was going on in her mind, knows that the gesture in her right foreleg was just a result of her balance shifting as she seemed to calculate whether she could step from Ingrid’s hand to her face, knows that I can’t fathom her thoughts as her eyes gauged that space.


Yet even so there is eye contact between the two of them, and while I can’t know the mantis’ mind I do have a fairly good idea of my daughter’s. Whether the mantis perceived a fellow being looking with kindness across the space between them is an open question that can never be answered. But I can be certain that when Ingrid looked across that space, she saw the eyes of a fellow being looking back at her, experienced a greeting and a friendship made, felt a spark of recognition and a sense of empathy. And maybe that’s enough.

CLIFF DRIVE, APRIL 2011


CLIFF DRIVE, APRIL 2011


The saying goes that, “A picture says a thousand words”; but until fairly recently it was usually easier to say a thousand words than to make a photograph.


Cell phone cameras have changed all of that. As cell phones with built in cameras have become ubiquitous, the use of photography for quick, utilitarian image capture has become commonplace, and it’s often easier, more succinct, and more fun, to send a picture message than it is to spell something out. My photograph, “CLIFF DRIVE, APRIL 2011”, was shot using a cell phone camera and sent as a picture message to say, “I’ll be home in a few minutes”.


As tools for making serious photographs, cell phone cameras have a lot working against them. When magnified beyond a few inches in width, the low resolution of the photos they produce rapidly reveals itself in the form of pixelization that doesn’t have a whole lot of charm. They tend to have a lot of shutter lag, so you have to try to substantially anticipate the moment you want to capture, which creates real problems when you’re trying to shoot a moving subject. And because they’re optically slow, they demand long exposure times, which often results in smeared images.

But if you’re willing to embrace their faults, rewarding results can be achieved with the images that they create. The blur that you’re stuck with when you shoot a moving subject in moderate light with a cell camera readily lends itself to an impressionistic treatment in the digital darkroom; and the portability of a cell camera lets it go places where other cameras might be too bulky to be taken.


The same sorts of things go for bicycles. Just as cell cameras can be discounted as not being tools for “serious art”, in our culture bicycles are not seen as a means of “serious transportation”. They have limitations that most people aren’t willing to put up with; but if you embrace their limitations you’ll find that they take you down a road less traveled to places where you wouldn’t otherwise go, and from them you will see the world from a point of view that is unique and rewarding.

CROSSROADS - Rock Dove, Pencoyd Bridge, KCMO




CROSSROADS

Rock Dove, Pencoyd Bridge, KCMO


I was out with my brother and my niece, taking her Senior High School photos, and we found ourselves on the stairs that lead up to the north end of the Pencoyd Bridge, the old railway bridge that was resurrected and relocated to provide a pedestrian crossing over the railroad tracks north of Union Station. The stairway is enclosed in an open structure of metal plates, and looking through these plates I was presented with this very exciting composition. We had other things to do, so I didn’t take a lot of time thinking about the shot; I just saw it, shot it, and got back to the business at hand.

Later, looking at the photo, I was really excited by it, except for one thing. Smack in the center of the photo, there was this pigeon sitting on the bridge with his back turned to the camera.


I tried to crop the photo so that the pigeon wouldn’t be right in the middle of the frame, so that he’d be artfully placed a little off center or something, but every time I tried I’d end up reverting to the original framing of the shot, as seen through the camera viewfinder, because the composition I’d created really was just what I wanted and cropping the image detracted from the energy that I felt in the photo. I thought about going back and re-shooting the photo, but that seemed like cheating, and anyway, I was getting pretty attached to it, even with the pigeon sitting there in the middle.


I had a friend once who was a world-class birder. He taught me that the pigeon’s real name is “Rock Dove”. In the city they make due scavenging garbage ­­– everybody hates them, and they get called “rats of the sky” – but before there were cities and garbage, the pigeon’s ancestors nested on cliffs and made an honest living off the land. Not that I want the flock that used to roost on my porch roof to move back, but when you look at pigeons as rock doves they’re not so bad.


So finally, I just decided to accept the photo, pigeon and all. He’s not so bad, really; he’s just a guy in the middle of a whole lot of crossing lines of chaos and motion trying to figure out where he’s heading in the world. I can kind of relate.

Monday, April 18, 2011

Grate

You know how great it is when you get home after a long day at work and your significant other has left you a special something sitting on the kitchen counter just to remind you that they love you? Well, that's what it's like every day when you're a bicyclist and the one you love is Kansas City.

I know, I know, on the surface Kansas City seems all tough and grizzled, but underneath that callous exterior KC's a real sweetheart who knows how to make me feel like a giddy schoolgirl.


Every day when I ride my bike home I get little reminders of how much KC loves me in the form of sweet nothings like this:

It's like coming home at 2 in the morning and finding a brownie on the kitchen counter with a little note that says "I love you". There are little love notes like this all over the place. Just east of the bridge over I-29/35 on 10th st., southbound on the Paseo just north of Truman, on Paseo just north of Independence Ave., and this beauty at 8th and Harrison, just to name the ones I see often.

I know, a lot of people would think that this is really a sign of KC being abusive and downright mean. But I know KC loves me and this is how he shows it. It's like being the wife in a Christian Domestic Discipline household: the threat of a sound spanking (or in this case, of catching my front wheel in one of these at 25 mph as I come down the Paseo heading for Cliff Drive in the middle of the night and going headfirst over my handlebars) is the thing that keeps me in line. This is KC's way of telling me that I am loved: by reminding me every day that KC is a stern, tough father figure who isn't going to make my life soft so I'd better toe the line and bring my A-game every time I get in the saddle.

Oooh, daddy! It hurts so good!

Friday, February 18, 2011

Seal Monologue Haiku Series

Seal Haiku Series
In which a circus seal learns
that he has been duped.



seal flaps flippers hard
holds ball on nose for long time
when they throw him fish?

creeping suspicion
resolves into certainty
no fish in that pail

circus man has fish
barked, clapped, showed all my best tricks
bastard popped my ball

(there once was a seal
from Nantucket who's ball was
oh, wait, wrong verse form)

with stupid ball popped
seal won't bark for empty pail
so much for the fish

now they call it "Cirque"
acrobats with oiled hair
kind of disgusting....

Wednesday, May 12, 2010

Cliff Drive

7:24 pm and there's a break in the rain. I push off down the side walk and roll out onto the street, wrong way up the one way to the corner and then left onto Anderson. Everything's wet, the asphalt is black and shiny, the grass is green and shiny, my fenders are silver and shiny, everything's shiny even though the clouds are so heavy and the sky is so dark and gray.

Right on Elmwood, down a block to cross St. John and the light turns green just as I get to the corner. Four kids are crossing from the other side on my left, they make some wisecrack at the skanky girl digging around in her car across the intersection, one of them makes a bark at me and a little lunge like he thinks he'll scare me into taking a fall and I smile at him and raise an eyebrow like "gimme' a break" and he laughs.

Down Elmwood to the bottom of the hill, then left onto Scarritt, down through the gears and up the hill slow. My rearview's clipped to my glasses and it makes them lean a little so that my right eye can't focus right. The humidity's so high that when I exhale the bottom edges of my lenses fog. Down in first gear, no hurry, up to the top of the hill and coast on over, down again and up again, and Scarrett crosses Askew and now it's called Gladstone. Coast, barely pedaling, everything's quiet in the heavy air except for my freewheel ticking and heavy drops of rain falling from the trees.

Past the museum, just before the gates there's a gap in the trees and I can see out over the bottoms to the top of the new Paseo bridge. The clouds and mist are wild and gray and ominous, lit with sodium light from below. Lightning in the distance pulses purple/pink behind the construction cranes.

Through the gates, ease down the access road on the brakes all the way, curve right, then hairpin around to the left. Down some more and then take the fork to the right, let off the brakes and coast. Quiet. Thunder behind me, no rain still, but drops from the branches overhanging the road smack the pavement and fall on my shoulders. Through the trees to the left, down the cliff they're linking up rail cars, they come together with an anvil drop slam that's theatrical shorthand for the fist of fate coming down in tragedy, and then quiet again.

Down here the mist is thick, shiny gives way to matte, all the colors are dark and rich. Everything's wet, the air, the pavement, the leaves, the cliffs, everything feels somehow primeval. The air is cool but not cold, almost but not quite the temperature where you can't even feel it, incredibly comfortable but just off enough to still know it's there.

Pedal along in silence, the occasional roll of thunder, the occasional anvil drop of fate from the rail yards, the occasional fat drop of rain on my forehead, tick of the freewheel, hiss of wet pulled up from the pavement in a bead on my tires. Glance in my rearview, nothing behind me.

Out of the mist a guy on a racer, kicking along at speed. I nod, ring my bell. He waves and tears on past. I remember riding like that, like riding a broom, but that's not where I'm at these days. Crest of a rise, up a gear, give a good push, glide, glide, glide, like flying, like soaring.

I've never dreamt of flying outright, but I've dreamt this, of taking a step, leaning forward, laying out on the air and falling ahead, never touching the ground. This is like that.

More thunder, a brief shower, just a few seconds, and I wonder if I'm going to get soaked before I get home, but it passes. Pick up the pace. Past the little parking spot, that car was there yesterday, weird, nobody in it now either, on a ways more, past the DeCapo fountain throwing it's usual spray through the thick air, water streams across the road, shiny on matte, big drops through mist, lightning flashing through dark, thunder through the quiet.

Up the rise, through the gates, bear left out onto Gladstone. Right onto Elmwood, left on Sunrise, right on Lawn. Up the street the big ditch by the school is full of water. Four kids are throwing limbs into it, they want to know what time it is, 8:00pm on the nose.

Up the hill toward St. John, old dude in a pickup in my rearview comes on around, impatient but polite about it. Across St. John, almost home and it's sprinkling now, but only a little, cross Anderson, half a block, up on the sidewalk, and I'm up the porch and inside. The house smells like split pea soup and brownies, the kids voices from the kitchen, it's warm, just a warm enough to feel it, warm and dry.

I've never dreamt of heaven outright, but I've dreamt this, of taking a step, leaning forward and stepping into this warmth, this light, like flying, like gliding, like soaring.

Tuesday, April 20, 2010

Poetry Slam

Poetry, to my ear, should be
less about rhyme,
and more about grace.
Less about time,
and more about space.

The art of words chosen well,
spoken with seeming effortlessness;
with intent, certainly,
but mostly without pretense.

I mention this, 'cause ...
when you read it all sing-song
you sound like a ding-dong.