Listening to the voice that calls, “Come back. I’m not through with you yet.”

Solitary in Fog II

Amble Towards Epiphany – copyright 2012 — Paul Vreeland

“I know something is there. I just haven’t found it yet,” he explained. I was watching a video of a talk given by Scott Kelby at a photographer’s conference hosted by Google+.  Kelby, the author of several how-to books, and host of www.kelbytraining.com, is a well-known name in the world of digital photography. The title of his talk is “Crush the Composition” and I recommend it to anyone who is interested in the art. Crush_Composition

Click here to watch the hour-long “Crush the Composition” Youtube video

Scott was talking about “working the scene”. “Try this, try that. Create a shot list. Shoot wide, shoot tight. If something makes you stop, there is something there. Your job as a photographer is to find it.” He was offering another stop-and-think-about-what-you’re-doing slow movement dictum. “It’s our nature to want to go on to the next thing—shoot the next shot. Once you’ve done a lot of shooting, stop, sit down, look at the back of your camera and start going through your shoots. Make sure you’ve shot it every way possible.”

Every morning on the way to work, I pass Andrew’s Pond and Wright’s Bridge. The transformation wrought by the change of season on the foliage overhanging the water was remarkable this year. For several mornings I drove by, glancing over my shoulder at the crimsons and oranges bowing towards the dark water. Each time I drove by I knew the foliage would diminish both in intensity and in mass. I knew the lighting would change. I knew that if I continued my habit of getting to my desk as quickly as possible and diving into my comfortable routine, I would miss the shot, whatever that shot was. I stopped and I shot. On three consecutive mornings I stopped and I shot. Are you expecting to see the results? Keep reading.

Sometime during the past year, or maybe two, Alanna and I watched a film set in the middle east. A foreign movie with English subtitles, the plot had something to do with a two men making a road journey across a hot hard-scrabble and treeless terrain. I’m sorry, I can’t remember the reason for the journey, or the title of the film, but what I do remember is one scene in which the driver of the dusty white automobile, who happens to be a photographer, is taken by the beauty of the landscape. There is something that he sees that makes him stop. Scott Kelby would have told him, “There is something here. Your job is take your camera and find it.” We watch as the driver looks out the car window assessing the view, knowing that he will never return to this locale. His partner senses that the photographer’s talent has been tempted and he asks, “ Do you want to take a picture?” It is a moment of decision—a moment with little in the way of dialogue, and much in the depiction of self-betrayal. The photographer doesn’t get out of the car. He doesn’t take up his camera, and he doesn’t honour what his eyes have been blessed to see. He puts the car in gear and drives on. (If you know the name of the film is, please leave a comment.)

Perhaps the image of the landscape will haunt him for some time. If he retains the image, even if it is confined to his imagination, isn’t that enough, you ask. At least he has that.

Would it have been enough for Michaelangelo to “know” that his David(1501—1504) was confined to a giant block of Carrara marble—a block that had first been worked on by Agostino di Duccio and later by Antonio Rossellino, and then neglected for twenty-five years? Michaelangelo is reputed to have said, “Every block of stone has a statue inside it, and it is the task of the sculptor to discover it.” – a statement that echoes Kelby’s suggestion that when he is attracted to a scene, “I know something is there. I just haven’t found it yet.”

The character in the Middle-Eastern road trip film is not a great photographer. He wasn’t as well-know a talent as Michaelangelo was a Renaissance master. But I don’t believe that this matters. The question is this: what of the writer who doesn’t apply his pen? What of the photographer who doesn’t use his camera? While we and millions of others have benefitted from Michaelangelo’s talent, isn’t it also true that Michaelangelo—something of what he discovered about himself as an artist, and as a human–was imprisoned in the stone until he brought forth his David. Maybe, for a writer, it’s not so much about the event of publication, as it is creative process of discovering who it is that is writing, who it is that is self, mirroring glimpses of the divine. Maybe, for the photographer . . .

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Reading, Writing, and Vicarious Longevity

Sacrifice

Sacrifice (copyright Paul Vreeland 2012) Scott Kelby 5th Annual World Wide Photo Walk — Charlottetown, Prince Edward Island

Adding years to our lives is not a numbers game; it’s about living a thousand years of experience during the four score and ten we’ve been allotted. Is that you muttering, “Platitudes and philosophical pap”. Hold on. There’s scientific evidence to the contrary—evidence that also offers a valuable tip to writers. But before we get there, let me develop a theme.

There are, it seems to me, at least three things we can do if we want to extend and expand our lives. First, we can join the slow movement, taking the time to savour moments of our lives. Secondly, we can re-examine portions of our lives and re-live and re-create them. Thirdly, we can live the lives of others, real and imagined. We can be a confidant to earth-bound articulate people with exciting lives and experience the stories they tell us. We can be readers living through characters on the printed page, or we can be writers living through the lives we create.

You’re still muttering. I can hear you. You want the science, I know. Let’s take a walk.

October 13, 2012

The hard edge of a chilly and windy autumn morning pulls at my inadequate jacket, the end of summer sleeping in my eyes. A cold front paints a plain blue pallet on a clear sky. I’m walking the Confederation Trail through Charlottetown with a camera, having joined 32 thousand other photographers in 1300 cities for the Scott Kelby’s 5thannual World Wide Photo Walk. It’s my first World Wide Photo Walk. It has a fixed term of two hours, from 10 a.m. to noon, and a couple of kilometers of fixed locale. And given a dozen other photographers, there is a competitive aspect to the event. How much can we “see” while strolling along a well-trafficked urban path? How much can we “see deeply”? We start out together after a group shot, and the pack soon disintegrates.

Some promoters have billed the Photo Walk as a social event, yet every photographer shoots alone. A hundred meters down the trail another photographer joins me. He chats, I listen, all the while my eyes wanting to be engaged elsewhere. He stops to take a photo, and I leave him. Grateful for the tips he’s given me, I’m happy to be alone again.

Setting out I am overly self-conscious, overly sensitive to a self-imposed pressure to “see” better than the others “see”, or to see what they don’t. And as much as I hate to admit it, I’m self-conscious about my entry-level gear.

My expectations are low and this event is challenge. I’ve walked this trail before. I know where it goes and I know the major landmarks along the way. I wonder if others have scouted the trail in advance, lined up pre-shots. After a few minutes I spot a collection of orange pylons in front of a red storage shed, and I slip into that slow zone where imagination and creativity take control of the clock. The two/three kilometer walk may as well have been fifteen or a hundred and fifty; so much was “seen” during the two hours that passed as two seconds. Cold coffee syndrome: when I take my eye out of the viewfinder, the day’s half over and I’m at the end of the walk, grateful for the lesson.

World Enough
Christian McEwen opens her new book World Enough & Time: on creativity and slowing down (Bauhan Publishing, Peterborough, New Hampshire, 2011) with George’s story—a story about another exercise, another walk, another lesson:

Twenty-five years ago, I was teaching a creative writing class in London. Some of my students were young mothers, relieved to find themselves in adult company again after the unremitting demands of their small children; some were middle-aged, with modest private incomes, and the rest were older people, recently retired.

There was a man in this last group whom I’ll call George, a creaky, lanky, doubtful sort of fellow, perhaps in his mid-seventies. I don’t remember his real name. But I do remember his response to one of my assignments. It was the sort of lesson, at least for me as a teacher, that I hope I will never forget.

`I had asked the class to take some ordinary task—washing the dishes, tidying up the children’s toys—and to tackle it at less than half the usual speed. “Look at the bubbles on the knife-blade as your rinse it,” I told them. “Feel the hot water on your hands. Enjoy that moment when the room is clean, and every single toy is put away.”

The point behind all this, of course, was slowing down: slowing down enough to be there in the present moment, enough so they could notice and describe. I didn’t know much about eastern religions in those days, but what I was proposing was in fact a very basic exercise in what Buddhists would call “mindfulness.”

Several mornings later, everyone gathered around the long oval table to report back on what had happened. George was one of the first to speak. He had a part-time job, he told us, even though he was officially retired. It was a job he had been doing for a great many years. He always walked home along the same few streets, taking the shortest possible route. But the previous afternoon, fulfilling the assignment, he had walked home from work a different way. His face creased with pleasure as he described what he had seen: the pink geraniums in someone’s window-box, the unfamiliar houses. It had taken him perhaps half an hour longer than usual. But he had enjoyed every minute. For the first time in thirty or forty years, his journey had seemed fresh to him.

I read the first chapter of World Enough & Time, and then did something unanticipated. I went back to the beginning and read the chapter again. I’m still reading the book. I wish I could say that about all the books I have opened. Now it seems that when I say, “Oh, yes. I’ve read that book,” stressing the past tense and the act of completion, I’ve missed the point.

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