31 May, 2009

A Long Time Ago


Somewhere in Mexico. Working on something, some project, some trip, some unknown.

Looks like I picked a really nice place to hang out.

Poem from Mom "Plain White Paper"

"Plain White Paper"

ink pen in hand
i wrote my name on
plain white paper
i looked at it
and did not know
who it was
ink pen in hand
i printed my name on
plain white paper
i looked at it
and did not know
who it was
i wrote a poem
on plain white paper
and signed my name
i knew who it was
some of me was
left behind on
the plain white paper

The Man

New York Times article on Salgado and his stopover in Los Angeles.

SALGADO NEW YORK TIMES LINK

27 May, 2009

3000 Miles





I love walking in some place and seeing my images. Sometimes this happens in "wall form" where an image is hanging in someone's house, an office, a space of some kind. Other times it happens in book form, or in my case, "Blurb Form," a form that is rapidly becoming a household description.

In this case, 3000 miles from home, a softcover, 8x10, vertical format, mix of color and black and white.

I like to see where the book is, precisely where it lives in the house. And, how worn the pages are. I don't want books that are delicate, fragile or too expensive to actually leave out. I want a book you can't imagine leaving alone. I want books you leave out for everyone to see, to handle, to wear out.

Even though this was my book, I looked through it over and over. It was just the right length, a tight edit. Shot over several years, in at least four different formats.

I'm going to order one for myself when I get back.

24 May, 2009

Flickr Gods

Okay, found two people on Flickr that are brilliant photographers, one I knew about, the other I did not. Now, you have to find them. Seriously, just get on there, start clicking, and like peeling an onion, you will find gem after gem.

This is how I found the latter. Saw one image, said, "Hmm, that is nice." Clicked to this persons image bank and was blown away. Never heard of this person, ever, in 15 years of doing this.

So, kept looking and found more and more and more.

I know, I'm a loser, I'm just learning about this jackpot. I'm pacing myself.

23 May, 2009

I Have a Question






I have a question.

As you know now, I've joined Flickr. I've done this, after all this time, because I just kept looking at the work being shown on this public space and was continually blown away by the quality, depth, range and level of personal commitment.

It got me to thinking. And when I get to thinking, typically, I have more questions than answers.

How can it be that Flickr contains far better, more powerful work, than our professional sites, our professional magazines and our professional outlets for photography? I think this is totally accurate. Just take a look. Sure, there are literally millions of images on Flickr that might find themselves in the outtake pile, but there are many, many more than are simply fantastic. And yes, there are pro sites that contain wonderful imagery, but many are simple slick content sites.

I think professional photography has been diluted to such a degree by the technology which currently is front and center in much of what I see. The means of how a photo was made, and consequently the workflow attached to the back end. And, for being a "creative" industry, photography sure loves its conformity. "The future is multi-media." So now what, I've got to start shooting video LIKE EVERYONE ELSE, so that my work can look like everyone else? Please. Lets stop and take a deep breath and look at the pictures we professionals are producing. Our pictures are sharper than they ever have been. We have a higher bit depth. We have better software. We have more control. We have the ability to shoot more than ever before. And look at us. Look at our work.

Something doesn't compute.

Let me ask this. Where do you see more soul? Flickr? Pro industry? Huh? Take a moment, just like Jeopardy before you scribble your best answer for Alex to read aloud. In the form of a question people, "What is Flickr Alex?"

I think, in great part, we have lost our personality. I think anytime the commercial aspect of something becomes the overriding factor, the quality and soul of the work begins to fall off. Anytime the people involved in a shoot, who are not the photographer, become the overriding factor, the quality and soul of the work begins to fall off. Sure, there has to be a collaboration, but I find, more and more, the photo-voice doesn't come from the photographer.

Flickr is a bunch of people who love photography making pictures and posting them online. There is no confusion.

Part II

One of my concerns about Flickr was the security. Anytime you put images up you are risking infringement of some sort. As one friend put it, "You want more exposure, you get more risk." I'm also leery of the major, online, content providers of the world who are always seemingly behind things like Orphan Works Bill, etc. They are angling for something, and that something might be our images in places like this. Just a thought.

So anyway, back to the great Flickr. I've decided to join, to put images up, but only ONE kind of image, ONE format and ONE style. Just 35mm, black and white, totally unrelated to anything imagery. Photography purism in a way. Nothing commercial. Nothing shot for someone else.

I think this is what makes Flickr so grand. Yes, there are plenty of working photographers posting work for various reasons, to gain exposure, etc, but for me, the power of this site is that it is driven by people who love photography more than anything else, and want to share that love with other like-minded people.

I keep thinking professional photography will have a reality check, but I think that would require an admission that things are not moving in the right direction, something I don't think the industry can "afford" to do, both literally and figuratively.

In the words of a Poison song from the 80's, "Give me something to believe in." And at the moment, it's Flickr.

I think that the pro's and the Joe's (Flickr) can totally learn something from each other. I think from the pro's you can learn about the business, about marketing, etc, and from Flickr I think the concept of shooting what we want, how we want, and living with that style. I've always found it strange to hear from so many photographers, "Well, I have to shoot it this way, and use this type of camera and provide this type of image." Regardless of what style they really have, they conform, and then we wonder why things are homogenized?

Shouldn't be just be photographers, and work the way we feel best suits us? Doesn't that make more sense than reading a magazine and buying what we are told is the hot new thing, producing work that we are told is hot new thing, etc.

For example: Billy shoots pinhole cross-processed pictures. Everyone loves Billy' work. But if Billy wants to work for such and such a client he has to rent a digital back, tethered to the laptop so the client can see. The work looks nothing like what Billy is known for, and frankly looks like it could have been shot by anyone. But Billy has the connection. So, the great photographer, Billy the Pinhole Kid, has been reduced to a content provider.

How many times a day does this happen?

What I would love to see are photographers who are not afraid to spread their creative wings. Our commercial work should be our personal work. Period. End of story. Do I really need to see another commercial photography site? No, never. For any reason. Ever again. B O R I N G

But, I'll bet you that commercial photographer, who is providing this "image front" for the world to see, has a body of personal work that is far more interesting and far more who they really are. Show me that. That is what we really need. That is what the world needs.

And that is what I see on Flickr.

I have a feeling I will be spending far more time on Flickr in the coming months than on professional sites. With pro sites I'm rarely if ever surprised anymore. With Flickr it is like reading a choose your own ending book.

It just goes and goes.

I think most photographers are creative, interesting people, and there is so much more we do if we just make an attempt.

Here's to doing something different this Saturday.

22 May, 2009

It's Official


It's official.


I'm on Flickr.


I don't know why exactly.


I'm burning out on Facebook, Twitter, etc,


My head, at times, really feels foggy from all this.



But, alas. I'm there. Now I have to tell the entire civilized world, and if I can get the uncivilized world to click on me, I'll take them too. Bring it on.

Story from Mom "Old Hunting Dog Has Her Day"

gypsy is my english pointer hunting dog
she has lived her 12 years to do one thing
to hunt birds and upon occasion other critters
she picks up their scent tracts them points them
and waits or breaks her point and chases and catches
we are older now and don't walk the fields anymore
but we carry on the the hunting tradition every morning
after she goes outdoors first thing I break and hide
small pieces of dog biscuits around the inside of the cabin
when she comes in extremely excited about this
I go out on her porch and hide some more biscuits
when she comes out and finishes her porch hunt
she sits down next to me as I drink my espresso and bats at my arm
she then shakes hands speaks and sits up for more biscuits
now this is fun for her but not the same as a real live bird
well yesterday good fortune brought us a real live bird
a white winged dove flew into the cabin window on her porch
she was asleep on her sofa as apposed to her highway 218 red leather chair
I ran out to see if the impact had killed the dove
I observed the dove and decided it was struggling
it was going through the final death twitches signifying the end
my decision was to get gypsy and let her have her way with it
I went into the cabin and pryed her off the sofa
I told her bird out here and opened the door to her porch
as her feet softly touched the porch floor she hit a point on the dove
it was still shaking a bit but sitting still
I nudged her telling her it was ok to get it
suddenly there she was bird in mouth one happy dog
she headed out into her fenced area with her prize
when she dropped the dove to clean all the feathers out of her mouth
it tried to fly or run and hit the fence where she retrieved it again
she spent alot of time with this most prized possession
by the end of the day it was gone what a treat raw meat
I will admitt but would not want anyone to know
I eyed that dove and the thought crossed my mind
that it would taste pretty good to me for dinner that night
but today it would be gypsy who enjoyed this magnificent bird
by the end of the day there were a couple feathers and alittle raw meat
on the cabin porch floor which she finished before heading back to her sofa
and a night of sweet sweet dreams about dove hunting ending her perfect day
I noticed a big smile on her face as I checked this happy old hunting dog
a loyal superb companion to me for so many years

How Was Your Day?








Here was a recent day for me. All in technicolor surround sound for you to enjoy. Just hum along and think sweat.

21 May, 2009

20 May, 2009

Lesson to All Wedding Photographers

By far, the coolest job at a wedding is the flamenco guitar player.

Get over it. It's true. This guy is a stud. Total stud. We the wedding photographer, are way to involved in the process. We are booked months, sometimes years in advance. We have utmost responsibility. We are ON the entire time, sometimes days before scouting locations, dealing with shot lists and editorial feeds.

But not the flamenco guitar player. No way. Don't bother him with calls, exact times or specifics. If you need him, he'll be at the bar, in his sandals, in his flowing white outfit and hair long past his shoulders. And if he's not at the bar, you better send your best friend to find the bridesmaids cause he might have found them first.

You know those Dos X's beer commercials, about the most interesting man in the world. This is the guy they are talking about. You can see his charisma from space. His bear hugs are actual hugs he gives to bears.

I remember working a wedding once. It was hot. Really hot. 112 to be exact. I was crouching down during the ceremony, a thousand and one thoughts on my mind, sweat running off my elbow, and I looked over and there he was. Margarita glass at shoeless feet, white linen outfit, backlit hair blowing in the wind. He looked right at me and I could just imagine him saying, "Stay thirsty my friend."

It was then and there, as my day only got more and more involved, that I realized I had made a poor decision all those years ago as I walked past the music room in elementary school. A quick glimpse inside, seeing other kids pounding on bongos. I should have turned, but instead, I kept walking on the path I follow today.

And now I can only look and admire from a distance, the work of this all powerful being.

You might see him later in the night, popping up here and there, showing a scar on his leg, his arm around the mother of the bride, speaking Urdu with another guest, only adding to the mystery and allure of the most important cog in the wedding wheel.

Poem from Mom "Cedar Posts"

"Cedar Posts"

birds sit on the top
of the cedar fence posts
that house gypsys area
and my angel patch

they come to the post
near the cabin window
early in the morning
where I write

a big bluejay
has started coming
each day
looking in at me

he sits near
the jasmine
and morning glories
blooming on the fence

I wave at him
as he stares at me
both wondering
both watching

a sunny morning song
from the woods
serving up its
story on a cedar post

19 May, 2009

My Morning




Rare.

A moment of peace.

The sound of pen on paper.

An Orchard

100 degrees.

Mate.

A few pictures.

Poem from Mom "Secrets"

"Secrets"


a river moving slowly
crystal clear water
seeing faces of friends
their images floating
over my watching eyes
their place in ivory memories
reminding me of their importance
standing the secret tests of time
chance meetings meeting chance
common strings connecting
forming each face in the river
caught in times numbered nets
lasting through the past
faces in the quiet river
floating with you
as the river looks back
and returns the secrets
caught in time

17 May, 2009

An Old/Young Friend







Fun Alert:

You might recognize this one, as I have photographed her many times in the past. Often times people ask me what I like about photographing kids, and the answer can be complicated, mostly because there are many things I like.

In this particular case, I had not seen this little one for some time, and the best part of the shoot was the first five minutes, when I wasn't shooting, but rather was just talking with her.

I must have been sleeping for the past 40 years because I'm still shocked at how fast kids grow.

Just spending five minutes, not shooting, just catching up,hearing about her side of life is, for me, really fascinating. She has a sister as well, so I'll be posting some pictures of her in the coming days.

These images are with the new Sony Camera, the A900, which is a very nice camera, with a fantastic assortment of lenses. But in the end, the best equipment is the gear you never have to think about, the equipment that simply allows you to connect with what you are doing. If you are thinking about, or looking at..........your equipment, you are not thinking about or looking about, what you SHOULD be thinking about and looking about. Know what I mean?

These were all shot with fixed lenses. I don't use zooms. Although if I did use zooms, there are few stellar options in the Sony lineup, including a Zeiss or two.

This shoot was so much fun for me, and I hope it was fun for the girls. I feel being able to do this is a complete luxury, one which I never take for granted. Being allowed in to see these little people becoming big people, and just listening to what they have to say.

It never gets old. Only we do.

15 May, 2009

Photographer to Follow: Matt Black







ALL IMAGES COPYRIGHT MATT BLACK

So, from time to time I like to write about other photographers that I find inspiring, interesting or just plain good. I don't know Matt Black, never met him, but can tell a lot about him simply by looking at his images. I've know about him for years, first heard his name, saw an image, at least ten years ago.

If I remember correctly, it was an image from Bolivia, a llama sacrifice.

This is, to me, what great photography is about. It's about images that last over time, perhaps gaining more power, more significance as they reappear in your mind, sometimes for unknown reasons.

Matt's images have a complicated simplicity, at least in my opinion, which can be deceiving in terms of how difficult it is to make these kind of images. The complicated aspect is the layering. The simplicity is how they read to the viewer, and not just photo people, but the rest of the world, the unknown viewer, the "average" viewer. Sometimes we get lost in what other photographers or editors will think, but the person buying the magazine, buying the book, signing on to the web gallery is the real treasure, and often times they carry no visual baggage. They either respond or they don't.

I also love the fact that Matt is a small town guy. I was too for much of my life, and can respect what it takes, means to live in a small place. I think where he lives, and where he comes from is front and center in these images. He makes the places that our coastal dwellers joke about come alive with life, passion, tension, etc,

Take a look at his site, his work and see. I don't know about you, but I now want to see Fresno. Never have before. Now I do.

Again, this is where good images can take us. This is when good images force us to reconsider our beliefs.

If you read his site, his bio, you can see that others have taken notice, lots of notice, as evidenced by his healthy list of prizes, grants, etc. But, I still consider him a quiet entity within the photo world. Perhaps he wouldn't agree with me about that, but it's just how I see him, and most importantly how I don't hear him.

I also like the fact his website is very clear and simple and shows one kind of work, his work. His work has a a style to it, a recognizable style, and in the modern, photo-world, this is sometimes difficult to find.

I look at these pictures, these stories and wonder what he is working on now. Where is he? What will we see from him next?

You can see his work at his website www.mattblack.com

14 May, 2009

My Interview on Inside Analog Photo Radio

Hey Campers,


I recently did an extensive interview with Scott Sheppard of Inside Analog Photo Radio, which was a very entertaining experience. As you know, I use both methods, analog/digital, in my work, but this focuses on the analog side, OBVIOUSLY.

We got back to how I got started, what I use, why, etc, etc. I'm glad he finally stopped me or I'd still be talking. I apologize for my voice. It's whiney and high pitched and makes me cringe, but I swear if you meet me in person I'll use a deep and powerful tone.

INSIDE ANALOG RADIO INTERVIEW LINK


This baby will download into your iTunes library as a podcast for your listening enjoyment. 51 minute car ride? 51 minute bike ride? Run? Lunch?

Go for it.

Photo Nonsense











Hey kids,

This is what happens when you add too much coffee, too little food and two photographers with time on their hands. But, for all of you lucky viewers, pure bliss baby, pure bliss. Just kidding.

I'm still learning this camera, yes, still learning, so sound is a little thin, but luckily thin is my middle name.

13 May, 2009

Old School

I realized something. I like hanging with "old school" photographers. And when I say "old school" I mean..let's say...anyone over...40? I was going to say 35, but that might be too young, not ripe enough, or entrenched in the new, and not the old.

What I like about the past generations is that these folks seem to be about ONE thing, and ONE thing only. The work. The images. The pictures.

Sounds simple right? Sounds obvious? "Of course you jackass, what do you think they would be about?"

Well, oddly enough, and I'm lumping myself in with this "new" crowd, we can get concerned about everything BUT the images.

When I hang with old school folks they have proven a level of commitment and closeness to their work that I just don't see that often in younger photographers. The older school does not have the same level of entitlement our younger folks seem to have.

We count our chickens before they hatch. Again and again. Where is this work going to end up? Museum? Gallery, Editorial spread? Promo-pieces, Books? ALL BEFORE WE HAVE EVEN BEGUN TO MAKE THE PICTURES.

Again, I've been guilty of this, and probably will again, but all it takes is to spend some time with an "old school" patron of this field, and it can set your compass back to true north.

I've said this before, many times, all that matters is the work, but when you play the professional game of photography, things can get a little complicated, hence all the noise that is created by the industry and the need it places upon you. You have to get published to get known. You have to create a buzz. You have to show yourself, show your work, relentlessly, and this type of life doesn't bode well for "dropping out" for extended periods of time to actually do the work.

So what happens is we make small shoots, start to create the work, then jump the gun and coat the world with the experience, long before the power of what we do is ready to be unleashed. In the end, we have fractures, fissures of life, but we rarely achieve the work of legend.

It's not to say there isn't good work being done. There is, lots of it, but I find truly great work harder and harder to find. The business of photography is all too powerful in shaping the work that is highlighted, represented and held aloft as a record of the best there is to offer. The young photographer today is hard pressed to avoid the trends, the pull of conforming and following what style, what look, what technology is the current, hot thing and running full speed in that direction. Again, you have to make a name, get published, get known, etc, and this is put before the actual work.

During the time of the older generations, the same situation existed but our collective attention spans were longer. There was time to make the work FIRST, and then make a name, based on the images. Now, the name is often made, and the images have only party begun to even form, but as long as you maintain the buzz you can make it.

It just all seems odd to me. There are certain photographers we always hear about, everywhere, all the time, but a surprising number of them don't really produce imagery you can remember more than a few days after you see their work, but the buzz is constant, which allows them to continue, as if they are skipping across the pond like a flat rock.

I think the old school photographer needs nothing other than the work. The work creates the buzz. The work IS the old school photographer. There is no separation of commercial, personal, art, etc, It's just what they do. It is who they are. It is what they are. And they don't need to tell anyone else.

Their work speaks for them.

12 May, 2009

Welcome to Texas




Hey, welcome to Texas. Come on it, stay a while. Make yourself at home.

Poem from Mom "Sign of the Times"

"Sign of the Times"

a sign of the times
new times from old times
old is safe and familiar
buy burma shave stop at stuckies
crease torn map in hand reading glasses
old airstream you and he had together
new places filled with old memories
check for the next campground
get some gas unhook the car
dreaming the same highways again
broken lines and double yellows
two lane roads showing you
when to stop and when to go
trying to revisit the past
so long gone now so sweet
you let today get in your way
so the jasmine and morning glories
would not bloom alone in the warm air
next to the airstream at the campground
lonely hearts searching for ballast
for a new way to balance out the old
hanging on too tightly to the past
when miles filled desires
home is where the heart is
strung on beads from yesterday
you were a sign of the times

Photo Advice from Mom

The joy in your heart from the new right camera, place, subject will carry through to the pictures you take. Everything is chance and nothing is chance. The camera is the extension of you and the fit will be there shining through what you do. The excitment of maybe this it, what I have been looking for, what has been lurking there from the beginning, laying in wait to be discovered. A part of you you knew was there, and just hadn't found it yet. Knowing it was there somewhere and having found it after searching so long. When it all comes together you know it. The end of a search the beginning of the find. Only for you, no one else can lay claim to it. It is the perfect still life, the circle around the photographer, his camera and film and the subject. Atlast.

11 May, 2009

The Action Hero








What can you say. A kid. A beach. Some serious funk.

He is the Action Hero. Always has been. From the time he was just jelly. These images are from the Sony 900, my first pictures with this camera, which is on loan from Sony. A test if you will. I like it.

09 May, 2009

Film vs Digital




I don't really have anything new to add to this magical debate, but I just wanted to label another post with this title. There are rumors of more talk regarding this topic, not from me, but from others, and from what I've read, it is one of the most comical pieces of literature ever penned.

I'm looking at a day, a long 850, with dust, wind and whatever else the world has in store.

On days like this I like to take a long look around, just in case I don't come back.

I'm returning to the other world, the commercial one with mixed results and feelings.

But, I'm able to return, which is nice. Many things have passed before me in the past few days, some I can take with me, and others are offer only their memories as signs of their elusiveness.

I guess that is the way it is supposed to be.

I will be ready and opened minded.

08 May, 2009

Yikes

Forty-five gigs of kids in three days. Yikes.

07 May, 2009

Who Am I?

Wow, talk about a sobering reality.

In short, I'm not sure I know what I'm doing anymore. Commercially yes, I know, but personally, with my work, I'm really teetering on the brink of I don't know what.

I'm looking at starting this new project. In fact I'm here, right now, starting the damn thing, and I realized I REALLY don't know what I'm doing.

This was never the case before. Ever. But is sure is now.

I can do anything I want, in any fashion, or at least what I can afford to do, and like I do with my students I presented myself with the question, "Okay, now what, what are you going to do?" And, I don't know.

I'm not even sure what format I'm going to shoot. 35? 6x6? 6x9? Both? All three?

This might seem trivial but it isn't when you consider I must have a consistent theme and style to what I'm about to produce. I spoke to another photographer yesterday who cautioned me about this, and explained that his only project of mixed formats was never published. All the rest, single format, were published.

I'm sure it was because it was more difficult to figure the style, to place the work under one description. Doesn't mean he, or I, shouldn't do this, but I understand the idea of complicating matters.

I would love nothing more than to do the entire thing with Leica and 35mm, and I might. But the 6x6 is also really nice, and I have been using a lot lately. But, each format creates VERY different pictures, and I'm not sure at the moment which is best.

Again, I knwo this sounds like it isn't a big deal, but I find when I, or most others, do two things at once, we do them half as well. And, the type of picture I make with a Leica is FAR different than with a 6x6 camera. So, it makes it difficult to put both bodies of work together. Then, one body is typically stronger than the other, and here is where things get tricky.

This isn't a small story, or one that I can do in a short period of time. We are probably talking several years to even come close, but that is what I want. That is what documentary work is all about. It ain't a quick fix.

I think part of why I'm having this problem is from doing much of my work for other people, people who need specific things in a specific style, and consequently you ofter work in a style that may or may not be your own. That's commercial photography for most people. After a while, it's more difficult to quickly fall back into the "your" style, and this is where I find myself.

Over the past few days, as I begin this project, I find myself so out of sync. I fumble with my gear because it isn't comfortable in my hand. I'm thinking too much and not reacting, and that never works.

I feel like a marathon runner who hasn't trained in several years.

I'll figure it out, eventually, but it sure does feel odd. Years ago I was crystal clear. I never doubted anything. I had one choice and I just stuck to it. Perhaps it is time to try that again?

Poem from Mom "Poets Light"

Poets Light

we long for the days
of romance and rhyme
gone in all ways
of another time

lost in years
part of the past
bringing us tears
made not to last

forge on ahead
move into today
its all been read
goodbye naivete

rhymesters only
doing their best
come up lonely
losing times test

can hold your own
if you do it write
standing alone
in a poets light

01 May, 2009

Duane








I'm not really sure how to describe Duane Michels.

For those of you who've met him, know him, follow his work, etc, you might understand why I don't really know how to describe him.

Unique, I guess, would be a good place to begin.

Here he is, in these pictures, right in front of you, but they don't really begin to describe him either, or maybe they do.

I remember seeing his work for the first time. I also remember seeing a show of his for the first time. I remember midway through the show turning around to see who was around me so that I could find someone to acknowledge how great the show was. Not sure why I felt the need to do that, but sometimes I do.

Duane is very funny. He is outspoken, but not in a pushy way. And he is a fantastic writer. He is conceptual, but I can actually understand the concept, and don't need it explained to me.

A week after his slideshow people are still still asking, "did you see it?"

I gave him a ride in my car, which was unexpected, but I now think about the fact that Duane Michels was in my car. It really doesn't matter, but I find it funny and very California.

There are certain pieces of photography that I think about on a regular basis, and Duane made several of them.

These pictures were made at The Palm Springs Photo Festival, Connect 09, where Duane was teaching.

I think what is most important about Duane, at least in my mind, is the sense of humor, which I find lacking in most photography, but also the fact he is not JUST a photographer.

Being a photographer isn't easy, as we all know, and sometimes we get caught up in things that really have no real importance other than the ghosts we create in our mind, and he doesn't seem to do that. Photography is a vehicle, for truth, for idea, for concept, for humor.

His work is about images. That's all. Plain and simple. Doesn't need anything else.

I also noted, during the final night slideshow, that his students made some remarkable work. I would imagine that these folks were good photographers to begin with, but I would also imagine there was a lot of Duane coming through those pictures. And I'm not talking about people copying someone's work. I talking about breaking through. Moving beyond. Thinking. Pursuing.

Poem from Mom "Spring Fever"

Spring Fever

rain awakening
the cabin
still dark
espresso
favorite day
since jan of 38
springtime
after so many
trickling drops
falling softly
finding life
honeysuckle blooms
red roses
hummingbirds
rock pile kittens
spring fever
spring flowers
spring peeper
wet birds
bugs under rocks
sunrise
mornings
old dog gypsy
on our porch
still together
writing thoughts
born in solitude
a rain claim
abundance of pleasure
our secret treasure