Ahhh...the Yashica
And so I sell off the Yashica. Sent away to a better home as I was certainly not using it much and complaining about it too much and still thinking about it too much… what was the element that I am missing? Caring and fondling of cameras is a fine pastime and does little for your enjoyment of the results that the piece is best applied toward. Exercise your insight and then trip a shutter to relay to friends and family; there is little justice to the scene in a photo that the eye already discerned and where the mind already invented a far more accomplished painting. But the camera is with you and the painting, however inferior, is created and the deed is done. But again what is the element so elusively away from attention in mists and shadows of resolve?
Resting with the hand the potential of the camera’s promise to record and dutifully perform is reviewed and checked and pondered, but still every time the shutter is pressed the operation happens. Why then the concern and worry over the speed, the color, the heft and the many more details that wind a weird tale for camera nimrods to trail through the Web? Isn’t it so that you cannot capture everything, and that even with a highly edged hand the camera is still too slow to anticipate everything? No, sometimes I anticipate the unseen just as I laugh ahead of the punch line when the joke bogs down in details. That joke is still funny and I laugh still the same. All that I must do is listen closely and spring the associations when it feels best for me, and that is sometimes a funny experience.
So piece a painting together with objects and elements of time and movement that are on different chords and planes of values that are seen and felt, but most often reflected upon more deeply without the camera interfering in the unfolding sequences. Aside from an elemental composition and not with but laying plainly on top is a chance for the little box to come to bear some quizzical purpose enough that it records a fine example of something seen. A job well done. I keep a camera with me and learn to use its limits as a better temper than my own wit that spoils jokes by laughing at my own injected solutions.
Resting with the hand the potential of the camera’s promise to record and dutifully perform is reviewed and checked and pondered, but still every time the shutter is pressed the operation happens. Why then the concern and worry over the speed, the color, the heft and the many more details that wind a weird tale for camera nimrods to trail through the Web? Isn’t it so that you cannot capture everything, and that even with a highly edged hand the camera is still too slow to anticipate everything? No, sometimes I anticipate the unseen just as I laugh ahead of the punch line when the joke bogs down in details. That joke is still funny and I laugh still the same. All that I must do is listen closely and spring the associations when it feels best for me, and that is sometimes a funny experience.
So piece a painting together with objects and elements of time and movement that are on different chords and planes of values that are seen and felt, but most often reflected upon more deeply without the camera interfering in the unfolding sequences. Aside from an elemental composition and not with but laying plainly on top is a chance for the little box to come to bear some quizzical purpose enough that it records a fine example of something seen. A job well done. I keep a camera with me and learn to use its limits as a better temper than my own wit that spoils jokes by laughing at my own injected solutions.
FC
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