L’essentiel est invisible pour les yeux

 
 
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written and photographed for Residency on the Farm’s Journal of Thank You 2020

As a teenager, like most teenagers, I was trying to figure out who I was, my place in the world. But because I didn’t have much self-awareness, nor a vocabulary to begin to assess that lack of self-awareness, I didn’t necessarily know that I was trying to figure out who I was — that I was in the process of unearthing an identity, an essence. What I did have was a CD player and a stack of pirated punk rock records. I didn’t leave the house without a pair of plastic headphones slung around my neck. I listened to music at the bus stop and on the way to school. I snuck the headphones through my sweater sleeve and listened to music in class. I listened to music at the dinner table, and in bed, under the covers. When I couldn’t articulate myself or my feelings, the music did it for me. Through my headphones, I was learning about my anger, and frustration, and shame, and pleasure, and pain. Of course, I didn’t realize this at the time. I thought I was just rocking out.

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Shot with Fuji XT-2 / 56mm 1.2 (if I remember correctly)

On perfectionism and photography

 
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I struggle with perfectionism. This is what keeps me from creative writing most days. I don’t feel like my work is good enough. *I* don’t feel good enough.

Photography has been a way to try to combat that. I don’t know enough about photography, and don’t have enough of my identity invested in “being” a photographer (as opposed to “being” a writer), to even know when my work is good enough. I’m learning, I’m playing. There’s not (too) much pressure. It’s fun.

During quarantine I’ve been teaching myself to shoot and develop film. In this process I can’t be perfect. I fuck everything up. Last week I loaded a roll wrong and shot 36 frames of nothing. Today I couldn’t get my film onto the developing reel and ended up cutting it and only developing five frames. The negatives are all scratched to hell.

Here’s one of those imperfect frames: bruised and battered and kind of out of focus. I’m okay with it. And that feels pretty good.

Although... I did edit it a little and crop it. Can’t get rid of every perfectionist tendency. But it’s a start.

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Shot with Nikon FM2n / 50mm 1.2 AIS / HP5+

Cure for COVID-19?

I wrote a piece for the University of San Francisco about a potential new treatment for COVID-19. Let’s hope it’s safe and effective.

The full interview with Distributed Bio’s Jake Glanville is on Moira Gunn’s Tech Nation podcast, linked in the article.

A Congressional Portrait

At the Northern Short Course in Fairfax, Virginia last month I got to hear photographer Elizabeth Herman speak about her project making portraits of the women of the 116th Congress.

Afterwards, she made portraits of some of the NSC attendees with a similar setup. I’m happy to have received one!

 
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Books of 2020

A running list of books I’ve read this year:

The Education of an Idealist - By Samantha Power

What’s it all About? - By Julian Baggini

21 Lessons for the 21st Century - By Yuval Harari

How Should a Person Be? - By Sheila Heti

Why Does the World Exist? - By Jim Holt

My Brilliant Friend - Elena Ferrante

Why Fish Don’t Exist - Lulu Miller

Blue Nights - Joan Didion

Prozac Nation - Elizabeth Wurtzel

The Tao of Pooh - Benjamin Hoff

How to Do Nothing: Resisting the Attention Economy - Jenny Odell

Intimations - Zadie Smith

Having and Being Had - Eula Biss

New York: Working From the Heart

I was in New York this month for a workshop with VII photographer Sara Terry.

The workshop was called Finding Your Visual Voice. Sara taught us to work from intuition and emotion — from our “thinking hearts” — as a way to learn to produce unique and intimate photographs. We attempted to let go of perfectionism and technical mastery, to feel our way into making pictures rather than think our way there. 

Not too long ago I might have been confused by this concept, bound by my relentlessly literal and logical brain. I might have been emotionally unable to look inward, or to understand the value of doing so. But I’ve spent the past couple of years searching for my “written voice” — and, based on everything I’ve learned so far, I suspect that when I find it, it will be somewhere closer to my heart than to my brain. So I’m ready to embrace this method, and I’m glad to be practicing it early in my photography journey. 

It was nice to be back in New York, to see old friends and old places. I’ve only been a couple of times since I left in 2011. I slipped easily into the rhythms of the city, remembering the speed at which to swipe my Metro card, remembering how to plant my feet and rock along with the swaying train. Everything was the same, and different. Now Long Island City is half-full of condos. Now electronic signs tell you when the next train is coming. Now the World Trade Center is built. 

Here are some of my photos from my trip. I don’t know if they contain emotional depth — I doubt it — but I tried to make them from the heart, and that’s a step.