Self-portrait in proverbs

This entry is part 6 of 7 in the series Self-Portraits

 

frost hand
Click on image to view the full-size version

A footprint is a sign; a handprint is a message.

This one says: I choose transparency because that’s the best way to hide.

Solitude is a salt lake with five inlets.

Sand can return to stone, but can glass ever return to sand?

My hand was so thick, I couldn’t see the fog in front of me.

 

tree face

 

Ice is a form of immobility that doesn’t keep. By the time I got my photos of the ice storm home & took them out of my camera, they had already lost almost all their glitter.

When the sky falls, it clings to everything. Trees snap with the weight of it. Beauty is best kept at arm’s length.

If it weren’t for wonder, I might have to go make something of myself.

Trees in the winter aren’t sleeping; they’re procrastinating.

Always remember that nature is out to kill you.

__________

Inspired by the posts at the communal self-portrait site Autography (tagline: “Self-Portrait as Story”).

Out of place?

red-tailed hawk with vole

According to a helpful webpage on film sound clichés, “the Red-Tailed Hawk scree signifies outdoors and a big, lonely place.” Anytime a rocky mountainside appears in a movie, you can almost count on hearing that raspy scream, which most people probably assume belongs to an eagle. It’s also used as an all-purpose signifier of impending or just-concluded drama in the typical outdoors adventure flick. So you know that I must’ve photographed this immature redtail in some wild, lonely setting, right?

red-tailed hawk in maple

Wrong. It was hanging out in the heart of Penn State’s University Park campus yesterday, home to some 40,000 students. Which, I suppose, is positively bucolic compared to Manhattan, where Central Park’s famous Pale Male lives, along with a growing number of other redtails. As I watched, the hawk dove at squirrels on the sidewalk four different times without success: fat and pampered as they seem, Penn State’s squirrels are masters of defense, dodging and feinting. It finally dove into the groundcover next to Schwab Auditorium and came up with what appeared to be a meadow vole, whose presence on campus I found much more surprising than the hawk’s.

By this time, classes had let out and the sidewalks were jammed, but most of the students didn’t appear to notice the hawk ripping at its prey on a low limb less than ten feet above the sidewalk. Half a dozen students had been following the drama with interest, and a few more, seeing all of us, paused briefly to snap pictures with their cell phones, but the vast majority didn’t give it a second glance. In fact, when the hawk dove after the vole, it cleared the head of a passing student by less than three inches, but she never looked up.

red-tailed hawk in elms
It seems ironic that I have to go into town to get good views of wildlife that we have here on the mountain in abundance. I’m reasonably sure our resident redtails have never been shot at, but they are still far warier than this one was. Nor is it the first time I’ve seen a hawk on campus acting as if people were nothing but short, loud, ambulatory trees.

The students who took an active interest in the hawk’s activities were as puzzling to me as those who glanced at it and kept walking. I gathered from their conversation that at least a couple of them had been following it around for close to half an hour by the time I came on the scene. “It sure beats going to class,” I heard one of them say. But they weren’t disinterested wildlife watchers; I soon realized that they were actually trying to herd squirrels toward the hawk. Each time it dove at a squirrel, they hooted and cheered like football fans at Beaver Stadium.

They made an odd counterpoint to the half-dozen crows, who were watching and jeering from a somewhat safer distance in the tops of the elms. But within minutes after the hawk finally scored, both the fans and the opposing team drifted away. I stood alone on the auditorium steps, watching this strange and magnificent creature tear its brunch into bite-sized pieces while students streamed by below. A couple of times it paused to return my gaze with that challenging stare all raptors possess, and I felt a little odd — as if it were really I who was out of place. What was I doing, thinking that the human-nature dichotomy is an out-dated construct only adhered to by a few, misguided purists? The hawk might as well have been a visitor from another planet.
__________

Be sure to check out the short-but-diverse Festival of the Trees #20. And if you have any broader interest in plants, you may be interested to learn that there’s a brand-new blog carnival for plants called Berry Go Round. The first edition is up at Seeds Aside.

Polyporous

black birch with Polyporus betulina fungi

Betula lenta, “pliant birch tree.” It’s true: a black birch is almost always more resilient than a white one, more likely to straighten back up after bearing a translucent burden of ice. Only in death does it lose its give and become rigid with listening, all its ears turned downward for news of the earth.

For more winter fungi, see A Passion for Nature‘s fungi category. Jennifer’s even putting together a book on the subject.

Travesty

black birch

This dance they do
it turns them into holy caricatures
the clowns proclaim that up is down
& the end justifies the beans
everyone drinks until they see
two of everyone
& their arms shake
unable to choose which
delightful lie to lay
& hey
this year even us USians can imbibe
because Carnival reaches
its riotous climax
on Super Tuesday

Sugar Baby

refugees

Download the MP3

She was clothed in a shift of worms and whispers.
I circled once & crept away, four-footed —
no hands for anything but the road.
That was one dream. And the night before,
a minor lord of the underworld saying,
Of course we take them down with us.
How else do you suppose they taste
eternal youth?
Grinning like one of those
candied skulls from the Day of the Dead.
Such melodramatic dreams, I said,
& wrote one yellow word upon the snow.
__________

Don’t forget that the deadline for submissions to qarrtsiluni for the Hidden Messages issue is January 31.

Ephemeralia

ephemeral pond in winter 2

What swims under the ice of an ephemeral pond, watching the slow shadows from below? Nothing that can’t live half the year without water, suspended, provisional, like a word from a language that nobody speaks anymore. But some find ephemerality desirable, if it means the absence of predatory newts & fish. One rainy night in March the mole salamanders arrive by the hundreds, the males entering the water merely to sow their spermatophores across the bottom: so much moisture at once is not a thing they’ve learned to resist, living under the ground. The females then take what they need — choosing on who knows what basis — to make their masses of gelatinous eggs, like the compound eyes of an enormous insect.

But not here, not at this mountaintop pool, where the acidic soil provides no buffer against the nitric & sulphuric acids that arrive with every rain or snowfall. This pond has almost as little in it as a geode, sliced open so we can feast our eyes on the unrepeatable, inorganic growths.

Manifest Oh

I’ve been working on an artist’s statement of sorts for the About page of Visual Soma. I must confess I’ve always considered artist’s statements to be a little self-indulgent, not to mention superfluous: if the art can’t speak for itself, what good is it? It seems especially presumptuous for a rank amateur like myself to consider writing one. On the other hand, I can rarely pass up a good opportunity to propagandize. This starts out promising enough, but soon turns, Dr. Jekyll-like, into a manifesto.

The vast majority of my photos have been taken within a mile of where I live. For me as a poet and an editor, photography is a spiritual practice, a training in how to see, how to frame and edit, how to find the poetry in ordinary things. I’m especially interested in the challenge of making photos in which the roles of figure and ground are reversible, or even nonexistent. Philosophically, I feel we must get beyond a perception of nature as mere scenery. Gorgeous wall calendars from Sierra Club and the like offend me at a very basic level; nature porn does nothing for the cause of conservation. Indeed, to the extent that it helps sell SUVs and houses in subdivisions, it actually makes things worse. We must get people to appreciate their own back forty, or the vacant lot down the street — only then do we have a chance of convincing them that every part of this planet is a work of art in which we participate and are continually remade.

I can hear the protests already: “Easy for you to say — you live on top of a mountain!” Well, yeah. But I love photos of human landscapes, too, and if I lived in town I’d probably specialize in them. The thing is, I don’t think it’s quite as easy taking compelling photos in the woods or fields as it is in a city, where the colors are so much brighter on average, where the symmetries are obvious, and everything is built to a human scale. Let’s face it, urban environments are pretty damn stimulating! In less human-shaped visual milieux, one needs to constantly shift one’s perspective and scale to avoid monotony.

One obvious and increasingly popular solution is macro photography. Some months back I was struck by a blog post from the professional photographer Mike Moats, in which he answered the question, “Why Macro?”

When I started in nature photography, I like most new photographers wanted to shoot landscapes. I went out east to the White Mountains, and to Acadia, went west to Yosemite and came home with some really nice images, but when I was home between trips I wasn’t able to shoot as much as I wanted due to the lack of great landscapes like I saw on my trips. I started to look at macro photography as a way to spend more time shooting near my home. I was shocked at the amount of images I came home with on my very first trip into the woods. I’ve spent many years of my life exploring past the end of the pavement but have never really taken a good look at the interesting life all around me. When I started to study my surroundings for subjects they were everywhere. I have some great parks with diverse environments within twenty minutes of my home but I also found many subjects within my own yard.

In another post, though, he admits that the easy subjects can literally dry up at certain times of the year, leading to photographic slumps.

Most of the vernal ponds (where I shoot my floating leaf images) are starting to dry up due to the lack of rain so this leaves me shooting the wooded areas. When I’m out looking for images I’m always scaning for subjects that have contrast. Contrast in color makes for some great images and also sells very well for me. The problem at this time of year is that the woods has very little color contrast, everything is GREEN!

One of these days, I will get a macro lens attachment for my camera. But I think the not-quite-macro level is interesting too. We can generally tell what we’re looking at right away — as opposed to, say, some of the extreme close-ups of weed-creatures from photographers such as the amazing Doctor Swan — but the scale is just different enough to give us pause. We’ve seen moss or mushrooms like that before — when we were three. It seems just barely possible that we might still, decades later, recapture that kind of seeing without preconceptions, through eyes undulled by weariness, heartache and boredom, and provoke that primal Oh.

New arrival: Visual Soma

the melt line

Color was returning to reclaim the world from black-and-white. It started on Sapsucker Ridge and spread down across the field. Soon it was right in front of my doorstep, where it paused for a while. I took that as a signal to go out, camera dangling from the strap around my neck like a shrunken head. It can see things I can’t. It can steal souls. I point and click, and sometimes, when I am looking for nothing in particular — “just looking,” as I always say to solicitous sales clerks — the miraculous appears. Or at least the pretty darn interesting. Or the mildly engaging. Or… well, you get the picture.

Why “Visual Soma”? Because when a regular reader of Via Negativa visited the then still tentative photoblog for the first time the other day, she thought I must be smoking something. And because a name like that will give me something to try and live up to: photos that alter consciousness. Can it be done? I don’t know, but I’m going to try.

This is not a resolution, mind you, but an aspiration, keeping in mind the multiple meanings of that word. The breath itself is enough of a wonder. Who needs smoke?

Again, for those unfamiliar with the photoblog format: the front page displays the latest photo only. Click on it — or use the Previous or Archive links at the top — to go back in time. I’m paid up for a year, so the blog and all its archives will stay online at least that long. In addition to new photos, I have two years’ worth of photos that need a second look and in most cases re-processing.

Among trees

Lorianne has assembled a rich array of links at Festival of the Trees #19. Go look.

red maple from above

This morning I spent some time sitting in a tree. It was cold, and the views were mostly of other trees. I felt like a fly at a rather dull cocktail party. The only conversation I could hear was between a dead tree and a live one about twenty feet away — a shrill squeal. Perhaps it was really more of a seance.

tracks

As I looked down at my own footprints leading away from the tree, I felt a sudden pang of what can only be described as pity for the rootless sprout that made them. A strong gust of wind set my tree to rocking, and I gripped the hand-rail of the hunter’s tree stand. Heeeeeeee, said the dead one.