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It is fitting that the greatest menace to working with film, after light, is dust.
Light and dust.
Life and death.
It seems an elemental analogy: that photography’s power is to make light endure a while longer; its power is to stave off the gray dust of death from the brilliance of light prolonged.
Dust clutters and obscures, gets caught in cracks, smudges, blurs, obstructs. It must be obliterated by wind or dissolved in a solution. A good technician may choose to wear a thin pair of loose-stitched white cotton gloves. The gloves shift the task from a technical process to full surgery. The imaging device clunks and buzzes like an x-ray or an MRI. There are large pieces, obscured by plastic parts, hard at work bombarding the exposed strip of emulsion to a torrent of photons.
All they want to do is be pretty and find their prince, and I’m like: what happened to feminism?
One entered the city like a god; one scuttles in now like a rat.
” […] Blue is the
Favorite color of many people because the sky
Is blue and the sea is blue and many people’s eyes
Are blue, but blue is not popular in those countries
Where it is the color of mold. In Spain blue
Symbolizes cowardice. In America it symbolizes “Americanness.”
JANUARY 23, 1975
Dear [William] Saroyan,
I note what you say about your aspiration to edit a magazine. I am sending you by this mail a six-chambered revolver. Load it and fire every one into your head. You will thank me after you get to hell and learn from other editors there how dreadful their job was on earth.