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Last Tuesday morning I was packing my bag for work, as usual in a rush to get my laptop into the case and get to the train, when a piece of paper folded in half fell out onto my bed. It was a list of local notaries. I looked at the paper for a few seconds, opening it up and smoothing it flat, before re-creasing it with my fingertips. I stood awkwardly in my bedroom, wasting time I didn’t have, staring at everything and nothing. How had I not seen this paper in all the time I’d used the bag since then? It had been sitting in there, waiting, quietly. I didn’t have time to put it in one of the boxes, this list of notaries I would probably never use again, but I couldn’t bring myself to get rid of it. Later I could put it with everything else, all the other pieces, everything else I was holding on to, until I figured out where it was all supposed to go.
Calling a notary from the hospital and asking—borderline begging, I suppose—if he, she, anyone can please come to notarize your mother’s will because your mother is suddenly dying: This isn’t something I ever imagined doing. I don’t mean illness, death, loss. I’d thought about those. I mean the details, the unknowable sudden onslaught of details that must be attended to when you discover someone you know and love is so sick with cancer she is dying.
Not just dying, but sprinting toward death. Still, you try and control the details, keep them from blowing away in the wind, as if somehow this way you can keep her safe. 
I never imagined standing there in the hallway with the notary I finally found, after a series of calls to unavailable notaries, notaries too far away, notaries not in the office. He held a big, leather-bound book. He was very professional, very courteous, very out of place in the white hallway where I had of late found myself trying to maintain control of a train that was careening over a very terrifying abyss.
There are a lot of things to learn when you’re faced with illness and death. You have to learn them if it’s an emergency or a slow-building process. You have to learn them if it’s you who is ill or someone you love. You have a lot to learn, often in a very little period of time. So little you feel like yelling about how unfair it is, all of it, everything, shaking tiny fists at the universe in futile anger and yelling about the great unfairness. Instead you switch on the light of the day room at the end of the hall and sit, at 5:00 am, the world waking up and going about its business as if nothing is wrong, to sit and talk to a lanky, bespectacled hospitalist about how exactly the doctors should interpret your mother’s do not resuscitate orders now that treatment has started.
The paperwork is astounding. Forms, coming and going. Lab reports. Booklets about what lymphoma is, what types there are, what the treatment options are, what a person going through chemo should expect, what a person-going-through-chemo’s caretakers should expect, what the types of stem cell transplants are, what will happen, what the person can and absolutely cannot eat, what the immunization schedule is, release forms. On and on and on. Even menus, from hospital stays, although to call them menus is sort of cruel. I have folder after folder of it all. A huge binder. A box full of booklets. You should see them. I should find a way to show them all to you.
In just under a month it will be two years since that first week in the hospital. Two years since I discovered what dark humor really is, how jokes an unfortunate cohort people can understand will somehow get you through grim hours. Two years I have thought about what it meant to go grey, all emotions and sensations inaccessible, to shut myself down in order to contend with something that was so much larger than me. Two years I have quietly hoarded away paperwork. Two years of learning there is more than the simple black and white of cancer, more than lived or died. Two years of nearly every emotion save paralyzing grief. Two years since my mother very nearly died, and then didn’t.
Two Mother’s Days. I count them now.
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Last Tuesday morning I was packing my bag for work, as usual in a rush to get my laptop into the case and get to the train, when a piece of paper folded in half fell out onto my bed. It was a list of local notaries. I looked at the paper for a few seconds, opening it up and smoothing it flat, before re-creasing it with my fingertips. I stood awkwardly in my bedroom, wasting time I didn’t have, staring at everything and nothing. How had I not seen this paper in all the time I’d used the bag since then? It had been sitting in there, waiting, quietly. I didn’t have time to put it in one of the boxes, this list of notaries I would probably never use again, but I couldn’t bring myself to get rid of it. Later I could put it with everything else, all the other pieces, everything else I was holding on to, until I figured out where it was all supposed to go.

Calling a notary from the hospital and asking—borderline begging, I suppose—if he, she, anyone can please come to notarize your mother’s will because your mother is suddenly dying: This isn’t something I ever imagined doing. I don’t mean illness, death, loss. I’d thought about those. I mean the details, the unknowable sudden onslaught of details that must be attended to when you discover someone you know and love is so sick with cancer she is dying.

Not just dying, but sprinting toward death. Still, you try and control the details, keep them from blowing away in the wind, as if somehow this way you can keep her safe. 

I never imagined standing there in the hallway with the notary I finally found, after a series of calls to unavailable notaries, notaries too far away, notaries not in the office. He held a big, leather-bound book. He was very professional, very courteous, very out of place in the white hallway where I had of late found myself trying to maintain control of a train that was careening over a very terrifying abyss.

There are a lot of things to learn when you’re faced with illness and death. You have to learn them if it’s an emergency or a slow-building process. You have to learn them if it’s you who is ill or someone you love. You have a lot to learn, often in a very little period of time. So little you feel like yelling about how unfair it is, all of it, everything, shaking tiny fists at the universe in futile anger and yelling about the great unfairness. Instead you switch on the light of the day room at the end of the hall and sit, at 5:00 am, the world waking up and going about its business as if nothing is wrong, to sit and talk to a lanky, bespectacled hospitalist about how exactly the doctors should interpret your mother’s do not resuscitate orders now that treatment has started.

The paperwork is astounding. Forms, coming and going. Lab reports. Booklets about what lymphoma is, what types there are, what the treatment options are, what a person going through chemo should expect, what a person-going-through-chemo’s caretakers should expect, what the types of stem cell transplants are, what will happen, what the person can and absolutely cannot eat, what the immunization schedule is, release forms. On and on and on. Even menus, from hospital stays, although to call them menus is sort of cruel. I have folder after folder of it all. A huge binder. A box full of booklets. You should see them. I should find a way to show them all to you.

In just under a month it will be two years since that first week in the hospital. Two years since I discovered what dark humor really is, how jokes an unfortunate cohort people can understand will somehow get you through grim hours. Two years I have thought about what it meant to go grey, all emotions and sensations inaccessible, to shut myself down in order to contend with something that was so much larger than me. Two years I have quietly hoarded away paperwork. Two years of learning there is more than the simple black and white of cancer, more than lived or died. Two years of nearly every emotion save paralyzing grief. Two years since my mother very nearly died, and then didn’t.

Two Mother’s Days. I count them now.

Source: Flickr / ohheygreat

    • #personal
    • #writing
    • #photography
  • 1 year ago
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This weekend I took my first double exposure Polaroid ever of someone other than me. It’s my beautiful friend Finch (finchdown.tumblr.com - links never work on my phone).

It feels so good to love a photo again.
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This weekend I took my first double exposure Polaroid ever of someone other than me. It’s my beautiful friend Finch (finchdown.tumblr.com - links never work on my phone).

It feels so good to love a photo again.

    • #photography
    • #portrait
    • #polaroid
    • #double exposure
    • #finchdown
  • 1 year ago
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A straight shot of the wall of my prints at Photobooth. 9 30”x30” prints for a total of about 8’x8’.
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A straight shot of the wall of my prints at Photobooth. 9 30”x30” prints for a total of about 8’x8’.

    • #photography
    • #art
    • #polaroid
  • 1 year ago
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Last minute reminder:

If you’re in SF tonight, swing by for the opening at Photobooth tonight. 

1193 Valencia at 23rd

Big, big polaroids.
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Last minute reminder:

If you’re in SF tonight, swing by for the opening at Photobooth tonight.

1193 Valencia at 23rd

Big, big polaroids.

    • #photography
    • #art
    • #polaroid
  • 1 year ago
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Leah at Valencia and 23rd, by Michael Shindler of Photobooth
I went to Photobooth yesterday to drop off a few prints for my show, and this tintype on the street happened. Niniane and I decided it’s the promo photo for my not-yet-written self-help book Learning To Be You: Because All Your Friends are a Little Tired Of Your Whiny Bullshit.
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Leah at Valencia and 23rd, by Michael Shindler of Photobooth

I went to Photobooth yesterday to drop off a few prints for my show, and this tintype on the street happened. Niniane and I decided it’s the promo photo for my not-yet-written self-help book Learning To Be You: Because All Your Friends are a Little Tired Of Your Whiny Bullshit.

    • #photography
    • #not mine
    • #portrait
    • #me
  • 1 year ago
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Here’s what a polaroid looks like blown up to 30x30. Please come see it and more of my work next week in person, at Photobooth’s 4th Gallery Opening. 

Photobooth
Friday, March 30th
7-10pm
1193 Valencia at 23rd
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Here’s what a polaroid looks like blown up to 30x30. Please come see it and more of my work next week in person, at Photobooth’s 4th Gallery Opening.

Photobooth
Friday, March 30th
7-10pm
1193 Valencia at 23rd

    • #photography
    • #polaroid
    • #art
  • 1 year ago
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It felt way, way too “to me” to put this in the last post but Harry Callahan is my absolute favorite photographer. Yes, I know, everyone always thinks it’s Francesca Woodman, and she’s up there. So’s Elinor Carucci. So’s Stephen Shore. So are others.

But it’s Harry. Harry and Eleanor. Forever.

    • #photography
  • 1 year ago
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bremser:

Eleanor Callahan, wife of Harry Callahan has died at 95. She was the subject of one of the most significant portrait series in photography, which is perfect because Eleanor was anonymous to most people. There are probably more great portraits of Eleanor Callahan than of Marilyn Monroe.
The Callahan marriage was not the type of artist-muse relationship that they make movies about.  It seems she made no effort to be a compelling model.  She is never trying to create persona or convey personality, yet she is always present.  So many famous portraits that result from the male-female artist-muse relationship are portraits of a dancing bear.   In the Eleanor portraits a woman doesn’t need to be poked and prodded, twisted and overacting to be fascinating.
The MOMA’s web site has a fairly good selection of the photographs.   The recent Steidl book on the series is wonderful.  What’s incredible is how many genres there are in the series. Completely natural (in bed, naked with child), stark minimalist line drawings, a day out on the town, abstract expressionist deconstruction of the human form, bucolic summer poems,  even some that feel like the New Topographics.
above: Harry Callahan, Eleanor, Chicago, 1949
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bremser:

Eleanor Callahan, wife of Harry Callahan has died at 95. She was the subject of one of the most significant portrait series in photography, which is perfect because Eleanor was anonymous to most people. There are probably more great portraits of Eleanor Callahan than of Marilyn Monroe.

The Callahan marriage was not the type of artist-muse relationship that they make movies about. It seems she made no effort to be a compelling model. She is never trying to create persona or convey personality, yet she is always present. So many famous portraits that result from the male-female artist-muse relationship are portraits of a dancing bear. In the Eleanor portraits a woman doesn’t need to be poked and prodded, twisted and overacting to be fascinating.

The MOMA’s web site has a fairly good selection of the photographs. The recent Steidl book on the series is wonderful. What’s incredible is how many genres there are in the series. Completely natural (in bed, naked with child), stark minimalist line drawings, a day out on the town, abstract expressionist deconstruction of the human form, bucolic summer poems, even some that feel like the New Topographics.

above: Harry Callahan, Eleanor, Chicago, 1949

    • #Harry Callahan
    • #photography
  • 1 year ago > bremser
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underwater
I miss this.
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underwater

I miss this.

Source: Flickr / ohheygreat

    • #photography
    • #digital
    • #self-portrait
    • #2009
  • 1 year ago
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thesunsetseverywhere:

Berkeley, CA, USA Around 5:10 PST

For the day crew:
Because I’ve been so in love with the sky and our amazing sunsets lately (I’m a walking cliche, and I’m ok with it), yesterday on the suggestion of someone on Twitter, I started a new Tumblr. I want you to share your sunsets and sunrises with me. 
Originally the idea was that every night, in every time zone, the sun sets. What does it look like where you live? Post your sunset tonight, tomorrow night, each night. Or your sunrise, if that’s what you view you have. 
People are now also submitting older sunset shots they love, and that’s fine too. I’ve been nominated as the Observer of Sunsets. I’d love nightly (or morning-ly) shots from around the world, but submit whatever you have, whenever. 
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thesunsetseverywhere:

Berkeley, CA, USA Around 5:10 PST

For the day crew:

Because I’ve been so in love with the sky and our amazing sunsets lately (I’m a walking cliche, and I’m ok with it), yesterday on the suggestion of someone on Twitter, I started a new Tumblr. I want you to share your sunsets and sunrises with me. 

Originally the idea was that every night, in every time zone, the sun sets. What does it look like where you live? Post your sunset tonight, tomorrow night, each night. Or your sunrise, if that’s what you view you have. 

People are now also submitting older sunset shots they love, and that’s fine too. I’ve been nominated as the Observer of Sunsets. I’d love nightly (or morning-ly) shots from around the world, but submit whatever you have, whenever. 

    • #sunset
    • #berkeley
    • #california
    • #iphone
    • #photography
  • 1 year ago > thesunsetseverywhere
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episodesandaccidents:

Jacques-Henri Lartigue, Renée Perle at Biarritz, France, 1930
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episodesandaccidents:

Jacques-Henri Lartigue, Renée Perle at Biarritz, France, 1930

Source: ihalfshut

    • #Lartigue
    • #photography
    • #Jacques-Henri Lartigue
  • 1 year ago > ihalfshut
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episodesandaccidents:

Jacques-Henri Lartigue, Renée Perle at Juan-les-Pins, 1930 (via)
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episodesandaccidents:

Jacques-Henri Lartigue, Renée Perle at Juan-les-Pins, 1930 (via)

    • #Renee Perle
    • #Jacques-Henri Lartigue
    • #photography
    • #Black and White
  • 1 year ago > episodesandaccidents
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Scarf tintype by Michael Shindler at Photobooth.
(color version of me sitting is here)
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Scarf tintype by Michael Shindler at Photobooth.

(color version of me sitting is here)

Source: Flickr / ohheygreat

    • #photography
    • #not mine
    • #tintype
    • #me
  • 1 year ago
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For Justine, because:
I Feel Horrible. She Doesn’t (with thanks and apologies to Brautigan), 2008

I feel horrible. She doesn’tlove me and I wander aroundlike a sewing machinethat’s just finished sewinga turd to a garbage can lid.
—Richard Brautigan
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For Justine, because:

I Feel Horrible. She Doesn’t (with thanks and apologies to Brautigan), 2008

I feel horrible. She doesn’t
love me and I wander around
like a sewing machine
that’s just finished sewing
a turd to a garbage can lid.

—Richard Brautigan

Source: Flickr / ohheygreat

    • #photography
    • #polaroid
    • #sx-70
    • #poetry
  • 1 year ago
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It's definitely you.

Speaking of you, you can also find me on this other tumblr for writing on culture, sociology, organization theory, health care research, and more.

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