Giovanni and I keep our cameras handy. We want to capture the cool Allegany waters and the dripping tamarack boughs. He turns the lens on me. I cringe. In those frozen moments, I can see how tired my eyes looked. How stained my shirt, how disheveled the campsite, how absent my son. Giovanni laughs and just shakes his head. “You’re beautiful, baby.” He glances at the photo in the camera then grins up me. “That is a good looking woman.”
In the archive of forever ago live photographs of the first weeks Bug was home, nursing at my breast. Wedding photos. Christmas pictures with Tee and Bug and me in the Colorado forest, cutting our own scraggly pine. Tired eyes there, too, and bright and distant and everything in between.
I ask Giovanni to keep taking photos. I know better than to let vanity scrub history of its texture. Still, it is hard to look at the images of this north country camping trip without feeling a bit of remorse. Where is the open face of a girl with no bitter seed tucked inside her cheek?
Every time you raise a camera to your eye you’re composing a picture – the very act of deciding where to point it is based on a conscious or sub-conscious decision about what you want to include in the picture. – Lee Frost
Begin again. Turn the head. Unhitch, release the remains of the gift freely given but poorly maintained. Gone, the days playing in the mountain creek with the tiny minnows flitting past my little boy’s ankles. Gone, too, the tulips curled deep in their bulbs beneath December frost along the hand-made fence. Gone is everything before.
Giovanni and I walk on.
The residue of a recent conversation with Tee still dusts my skin. We were chatting about their father-son adventures: fishing trips, air show excursions, visiting the tall ships in the Baltimore harbor. Tee is a fun daddy. “I can’t give him the childhood I had,” Tee explained. “So I have to make the best of what is here.” Resignation. A touch of martyrdom. I could almost hear the quiet, cresting cheers at Tee’s strength. The truth is, I listen for them myself when I speak of settling for less in order to provide stability for my son. This is the attitude of survivors.
Is that what we are doing? Surviving? If we start with the premise that we are handicapped, then our fortitude is certainly a strength. I hear the father of my son hint at disadvantage, and I think (quietly, because I am learning to hold my tongue), This pulsing place? The nation’s capital? The diversity of experience and background in every neighborhood? The colleges and museums and historic battlefields? The curry and pho? The political stage? The assembled masses? All of this is a shortage?
Bug’s childhood is not deficient. He is missing nothing at all. Nevertheless, it won’t be long before Bug believes he lacks the golden ticket if we believe he does. The kid is sharp, but it does not take a sixth sense to sniff out the secret Tee and I both carry: we have fallen short. We have not provided our boy with what he should rightfully have. The odor of failure clings to us both. We do not believe we have done enough, that we give him enough. Something is “supposed” to be better, or more, or different.
In another context, Giovanni once suggested that a shift away from wanting and towards appreciating might help us see each other a little better. When we pause to notice the composition of the object before zeroing in on its flaws, something good has room to grow.
Where I aim my gaze determines more than a single point of view. Bug will learn to orient his attention by watching the grownups in his life. Do I want to apprentice my son to a taxonomist of shortcomings? It seems a wiser course to teach him to identify the call of a whip-poor-will from its perch on a cedar’s low shoulder.
. . . by using different lenses, choosing your viewpoint carefully and thinking about which part of the scene you want to capture on film, it’s possible to create successful compositions every time. – Lee Frost
In the snapshot of Bug’s life today, here is what I choose to see:
- Two homes.
- A mom and a dad.
- A lop-eared dog.
- Woods near his house with pricker bushes and a creek and all kinds of ways to get lost.
- Public parks, public libraries, and some of the best public schools in the country.
- Books splitting the frames of shelves in his rooms.
- Parents who read to him every night.
- Road trips and campfires.
- Healthy food in abundance.
- Quiet time.
- Neighbor kids who ride bikes up and down the cul-de-sac.
- Three sets of grandparents who make room for him.
- A cozy bed.
- Songs in his repertoire.
- Questions galore.
- A floor onto which he can pour his tired body when he wants the world to stop.
- Dreams about pirate ships.
- Climber’s legs.
- Dancer’s feet.
- Paper and markers, glitter and glue.
- Anger and sadness and sweet, tender kisses.
- One bad joke about a duck.
Tee says he cannot give Bug the childhood he had. He is more right than he knows. A childhood is not ours to give. In fact, Bug does not have a “childhood” at all. He has a life. His own. This very one.
As long as I am living with wishes that things could be more X and less Y, and as long as I carry the burden of loss, then I model for my child the fine art of holding off on joy until real happiness comes along.
Begin again. Turn the head.
All we need is right here.
Circumstances will change, of course. We will seek new doors down corridors we have not yet explored due to blindness, fear, or simple chance. But a belief in adaptation and expansion does not require us to disparage the now. We can love possibility while also wrapping our arms around this very whole moment, draw it close to our hearts, and shiver in awe at the perfect fit. So complete, this day, this configuration of things, this this.
The fact is you’ll rarely get the best picture from the first viewpoint you find, but unless you make the effort to explore your subject from different angles you’ll never know the alternatives. Sometimes all it takes is a slight change of viewpoint to completely transform the composition. – Lee Frost
As Giovanni and I walk the trail through the northern woods, I make a promise out loud. When I see a photo, I will find something in it to like. It is a simple act. The practice, I have learned, has a way of revealing the path. In every snapshot, seek something that opens the eyes. Appreciate the image as evidence of riches. Find the pulse. Land the gaze there and call forth the living yes.
Lee Frost Photography. http://www.leefrost.co.uk/default.asp