•what happens•

Right now, there are a bunch of 'draft' posts littering the backstage here at HalfAssedMama.com. The titles are interesting. "Englandia." "Long losts." My favorite is simply "the toyotas."

There are a great many things preventing us from blogging. We both just landed ourselves new jobs. In my case, I got a text in England from my boss. One of our co-workers was leaving; would I like to apply for her job? After five weeks, Troy, Penn & I returned home to a swirl of jet-lag-interview-hired!-ready-set-full-time-job-for-mommy on top of (p.s.) a week-long conference that took Troy to Massachussetts. I'm still skinning my knees daily, just trying to keep up, but it's good to be working at a new velocity for That Store we love so well. It will let up, in December. So look for that "Englandia" post, then. Right now it's swim lessons and scraped-together meals and piles of suitcase innards.

For Amy's part, it's packing and working, not sleeping and tidying up loose ends, because her new job means a rather abrupt move, cross-country. Which means, first and foremost, we will be half-assedly blogging from opposite coasts of the US! (Thank you to Bryn Mawr for proffering this upgrade in bloggerly coolness.) Amy has accepted a dream job as a production manager for the Bryn Mawr theater department. She moves to Philadelphia on Sunday. I went to her house a few nights ago in a work-induced stupor, and she sent me away with a giant ceramic ladle, a box of beads, an oversized bag of clothes, and a book of our blog. Of course, all the clothes are still in the bag. The beads have been picked over by a small child. And the book is right here, online, for anyone to comb through. But there's something different about seeing all those early posts in pages. I can open to a random date, as though our posts are part of a larger story. And so they are. Once upon a time, Amy wrote, "Right now, I'm going to go put one small piece in the kiln to see what happens..."

Right now, I'm going to go.  

xox

Blur

Self portraits taken today for Rewriting the Story. The assignment was to play with blur and focus--blurring things that might normally be your focus, focusing on things that wouldn't. I was a little stumped about how to control the focus while using a remote (which automatically focuses the camera). I could have set the focus manually and then set the self timer, but really--ten seconds to clamber around too many branches or climb past brambles to perch on a fallen tree? In a delicate, filmy dress? Yeah, not happening. So I messed around with making things "blurry" in one way or another during editing.

The blur interests me on levels I have no energy to delve into right now. I've been sick the past couple of days, and I have other posts stewing in my brain, but I can't write those now either. (It's amazing I managed to get any photos done.) But sometimes, I just like to come here and check in. Or reach out. Make a mark somehow.

Something More Than Babysitting

 

Yes, the child is out of focus here and below. 

He was moving more than you might imagine to look 

at this, and it turns out I'm not so good at catching 

fast-moving kidlets with my phone camera. 

Last night, Lis and Troy both had work-related commitments, so I’d eagerly agreed to spend a few hours hanging out with Penn.

After dinner, we gathered up some plastic bunnies with parachutes and set off for the park with them. Penn explained to me in great detail how you have to climb to the very highest point on the play structure, and then drop the bunnies just so, allowing their parachutes to fill with air and ensuring a good jump. He decided we should take not only his bunny, but the second one—the one his mom and dad use—because it’s better to have a second one, in case one person wants more turns. Because sometimes, sharing just isn’t the most fun you can have, you know?

He asked me if we could stop by his friend’s house to see if she could go to the park with us. So we wandered down to the co-housing community where she lives, the community that Lis and Troy and Penn are also a part of, though they don’t technically live in the community.

Of course, it didn’t take us long to run into someone we know. Because Lis often invites me to join community meals at the common house (and because it’s the kind of place where everyone and their goldfish belongs to the food co-op Lis and I both work for), I’m familiar to many of the members. And Penn, of course, is well known and loved.

So we stopped and chatted. And then we went and knocked on Tatum’s door. It was close to bedtime for her, but she and her mom came outside to spend a few minutes with us before Penn and I walked on to the park. Brie and I chatted and the kids ran around, giggling madly as they pretended to sneak up on us and poke us in our backs. We would break the conversation to feign shock, the kids would run away, and we’d go right back to the conversation.

Once we’d walked our friends back to their house to get ready for bed, we turned around to see another friend, Amy, across the walkway, going to visit Holly at her house. We all greeted one another warmly, and as we chatted, Holly heard us and called hello to us out her kitchen window.

It was pretty much exactly as blissfully warm and community spirited as it sounds, and what really struck me was this: Not one person even asked why Penn and I were hanging out, or where Lis and Troy were that evening. It seemed as if everyone found it entirely normal that a loving, non-parental grown-up would be out and about in the neighborhood with her four-year-old friend on a spring evening.

Eventually, Penn and I wandered on. We climbed the play structure exactly as Penn had described to me, and we dropped the bunnies from the great height, and their parachutes filled with air to help them land safely. 

And then it was getting later, and Penn was yawning, and a tired-whiny note was starting to enter his voice. And I knew just how he felt, so I picked him up to carry him home. The night air was cooling, and his little body was warm and solid as he leaned into me and put his head on my shoulder. We walked several blocks that way, in silence, until my arms couldn’t take it anymore, and I put him down and we held hands the rest of the way home, through a neighborhood where everyone knows us.

Starry, Starry...Well, Everything, Just Now...

This week in Swan Dive, we've been creating texture photos to use for layering. Below is a texture I painted last fall (when I took the class for the first time). It's sort of texturally interesting, but so far I've found that it's not entirely well suited to my photos.



A bit of playing around with it in PicMonkey and Pixlr Express, however, and I got this:



Specifically, I softened and intensified the original a bit (using the Orton effect in PicMonkey), then I took it over to Pixlr and layered on one of their star overlays two times at full strength. And now I can't stop layering it over my photos. For example:



Or this, originally seen edited completely differently here:

Fairy Tale Photo Edits for Today

All played with, as that's my M.O. for this month.

I often have mixed feelings about doing this to photos--it's really fun to do, and I can get really into the experimentation. But I'm not always sure I like the results. The beauty of being able to play with them like this? The two below weren't very good photos to begin with, and now they're at least interesting to look at--see the before and after.

Before: Booooring

After. "Who's that trip-trapping across my bridge?"
All edits and textures from PicMonkey and Pixlr Express

Before

After--texture can be found here

So...definitely more interesting than the originals. Definitely a lot of fun to make. But they're not really anything more than pretty, you know? Not that there's anything wrong with pretty, but apparently I have a complicated relationship with making things that are just pretty.

But I don't always feel this way about editing heavily. Sometimes, it's precisely, exactly what a photo needs to become precisely, exactly what it's meant to become. Below, for instance, is my favorite self portrait so far. In altering the image's texture and color, I turned it into something that has less to do with what I look like, and more to do with being...I'm not really sure how to put it. But it became something outside of myself, something that has a deeper story, and something I hope is more than merely pretty. And I love that.

Also interesting--the texture on the self portrait is the very same texture I used on the orchard photo above. It works well on both, but it's astonishing how vastly different the total effect is, no?

Sunday Drive

I got in my car this afternoon with my camera and no particular plan except to get a cup of coffee and go somewhere beautiful to take some pictures for class. So, coffee in hand, I took off toward those hills I love, thinking I'd probably wind up at Cold Canyon to walk along the creek for a while. But once I got to the turnout where everyone parks to access the hiking trails, it was completely packed with cars.

So I just kept driving--up around Monticello Dam, where Lake Berryessa begins, and really into the hills. And when the road split into 128 and 121, I took 128 toward Napa. I've known for a long time that you can get to Napa that way, of course, but I've never driven the route--I thought it would take a lot longer than it actually does. Frankly, it can't be much more than half an hour longer than taking the highway, and it's about a thousand times more beautiful. I stopped a lot to take pictures.

(Photos are clickable for enlargification-type purposes.)

Caution: Hyper Edited Photos Ahead!

Since playful post-processing in the service of freeing one's creative intuition and discovering one's visual voice is sort of the point of the class, a little bit of hyper editing is a very good thing. (Also: Yet another free online photo editing program!)

And yes, I'm posting photos rather than writing anything real. It's a tiny door back into the blog--say, one of those cat doors you stick in your sliding glass door--but at least I'm crawling through it.

Without further ado, I present to you three takes on some nectarine blossoms. (So my landlord tells me, and she's someone I have reason to trust about plants...though, even she seemed maybe not 100 percent sure? So you know, whatever. Oooh, look! Pretty flowers!)

Just a Photograph, Plus Some Online Photo Editing Options

I've been silent lately, mostly out of exhaustion. I miss it here, though, and I'm hoping to come back soon. Meanwhile, I've just started another class with the lovely Vivienne McMaster. (And there may still be time to join, if anyone out there is interested! You all know I can't say enough about how much I love Viv and her online photography classes, right?)

Anyway, this is a photo I took a week or so ago, but just got around to editing today--in the playful, and hopefully messy, manner of our current assignment. Which is to say--a bit on the over edited side, but totally fun in its over-the-topness!

The dip in the hills (also seen at a distance here) is called the Berryessa Gap. Through it and into the hills a bit lies Lake Berryessa, and around the lake and over the hills and some very beautiful and windy roads you eventually get to Napa and Sonoma, set in their own little valleys in the hills. It's a beautiful place, this place I live.

For those of you who are concerned about Picnik closing this month, do you know about PicMonkey, Pixlr, and Pixlr Express? PicMonkey is the most like Picnik, which makes sense, as it seems to have been developed by the same folks. Pixlr Express is easy and straightforward--I'm having some trouble understanding the main Pixlr program, which is apparently a bit more like Photoshop? Which would explain my confusion. But they're all very, very useful to know about as free online photo editing options. That don't force you to join Google+.

UPDATE: After I posted this, I found this incredibly helpful link to a (rather large) collection of short, easy to follow videos all about using Pixlr! It's a wonderful resource--many, many thanks to whoever is behind this little labor of love.

What Friday Looked Like

Yesterday, the light and the cloud cover were all over the place, even during the 15 or 20 minutes over which I took these photos. But it's amazing what can happen when you adjust your shutter speed more or less correctly, eh?

(This in no way means I knew what I was doing--it only means I'm finally brave enough to adjust the dial and see what happens. Which is no small thing, really, I suppose.)

Crow (sort of the unofficial bird of Davis, CA)

Walnut trees and sky

UC Davis research fields

UC Davis research fields

Flowering quince

The town logo

Miracles

Penn and me yesterday, on a coffee date with Lis. Photo by Lis.

Last week, with a little nudge from a friend, I decided to choose “miracles” as my word for the year. As soon as Julie suggested it, I felt pulled by the word—intrigued, delighted, nervous. It fit well. There’s a lot behind that word for me, and I sat down to write about all of it this afternoon, but I got overwhelmed pretty quickly. There are so many miracles from this past very difficult year, so many people who were involved in creating those miracles or in helping me to see them. But it’s my word for the whole of next year, so I have a feeling I’ll have plenty of opportunity to write about it—no need to get it all out now.

Still, as I wrote and wrote and tried to spin out all the threads of all the miracle stories from my year, one little story popped out at me, so that’s the one I’ll tell you now. Maybe I’ll tackle each story in its time—little piles of straw waiting to be spun into gold.

But this one is about Penn, Lis’s (and Troy’s!) amazing, beautiful little boy (the toddler behind Toddlerblog over there, for those of you who are new here). And I think this story says just about everything you need to know about what it is I'd like to invite into my life by choosing this word.

The morning after I ended my marriage, I moved out of my home and into Lis and Troy and Penn’s spare bedroom. They welcomed me wholeheartedly. Penn and Lis greeted me at their door, and Penn was clearly concerned and full of questions. He wanted to know why I didn’t want to live with B. any more, and I had to tell him that was a really good question, and it deserved a really good answer, but I wasn’t sure how to explain it to him just at that moment, and would it be okay if I thought about it and gave him an answer later?

And he said yes, and then he asked me if I was still sad (Lis had told him I would be, and he could see I’d been crying), and when I told him yes, he came over to me and gave me a hug that made me cry even more. Because the hug he gave me was not, in any way, the hug of a not-quite-four-year-old child. It was the hug of a soul-level friend, a friend who understood at the deepest level that I was hurting. It was the hug of someone who was caring for me in exactly the way I needed to be cared for in that moment, and it was easily the most awe-inspiring, miraculous hug I’ve ever been given.

Friend

My next door neighbor stopped by my back door just before dusk. I opened the door and sat down on the threshold to visit. He lay down next to me, rolling over to make it easier for me to pet him. I scratched his chest and head and held his warm paw. When I'd get lost in thought and my fingers would stop working for too long, he'd forsake his blissed out snoozing and lick my hand politely--just once; a gentle doggy reminder to focus on the important task.

We sat like that for a long time, watching the wind in the pine tree and the willows, and the stars lighting up the deepening dark, and listening to flocks of geese trumpeting their way south.

Home

Just a snapshot of just a piece. But it's shaping up into a warm little nest that fits me well.

Tuna Picnic

Annie, relaxing over a nice cuppa.

Cats are not the only critters who like a little tuna juice snicky-snack now and then.

"What? What's wrong with fishy breath kisses?"

More (Oh, So Many More) Thoughts on Self Portraits

Do you all remember just about two weeks ago, when I wrote something about how I've always hated pictures of myself, and I'd kind of like to get over it already?

(Click on any of the images to expand them)

Yeah. I think I'm officially over it, and the class still has another week and a half to go. I also think I'll sign up for the next one.

I promised to write more about all the things this class is making me think, and although I'm still not ready to turn this into some polished essay on the subject, I really kind of want to write about it. And this is my blog. So this doesn't need to be a polished essay. (I know, I'm all about the revelations.)

So here, in no particular order, is an unpolished and random collection of thoughts on self portraiture. More or less just as the ideas gathered themselves in my journal over the last couple of weeks. And it's long. Really long. (You've been warned.) But there are pictures! And my grammar's not half bad, I promise!

1) I keep thinking about the words "image" and "imagine." The pictures I'm taking are often hitting me with incredible force--and it isn't about what I look like necessarily, but more about something behind the image. I wrote more or less the following in a comment on Vivienne's blog yesterday: As I look at the pictures, I'm having these visions of what I might be capable of, things that have nothing to do with my physical appearance, or with taking pictures (of myself or anything else). And the visions aren't anything I'm consciously calling to me--they're just these overwhelming feelings of creative possibility that stem from the pictures themselves. Amazing.

It keeps occurring to me that "imagine" is a more powerful verb than we give it credit for. Even when we're deeply committed to acts of creativity, I think we don't often hear the literal meaning the word "imagine" carries: That a mere image can call reality into being.

Jump!

2) If all of that is true--that an image can expand our ways of imagining ourselves--what else can it help us to imagine? How can portraits of ourselves and other people stretch our creativity and help us to stop putting limits on ourselves and everyone else?

3) And really, isn't that just another way of asking how really seeing ourselves and other people can allow us to expand our visions of them/ourselves?

4) And on that subject, I'm blown away by the degree to which self portraits allow us to allow ourselves to be seen. There are so many elements to just this issue. One of them, it's been occurring to me, is that when we're the ones both in front of and behind the camera, we have all the power and control. We can tell the story we need to tell about ourselves.

I'm not entirely comfortable with this, actually--this "being seen" business. And it's also the thing I am probably most desperate for in the world. And suddenly, this class is helping me develop the power to say, "Here I am. This is who I really am." It makes me a little squirmy to post these pictures here, but I'm also pretty proud of them. Not necessarily as photographs (still know nothing about my camera! but it's a blissful ignorance!), but as images that tell a bit of my story.

I'm interested in how this differs for me from sharing my writing with the world--after all, writing too is a way of saying, "This is who I am." I think partly it's different because I've been writing for much longer than I've been taking pictures of myself, and partly because writing is so easily separated from my physical self. A portrait is about much, much more than my physical self, but it's intimately, inextricably entwined with that physicality as well, and that's a new level of vulnerability for me.

(And wow, do those last few paragraphs shed some light for me on my fascination with/loathing of/terror of performing. Topic for another day entirely. Welcome to my stream of consciousness.)

5) Which leads me to the concept of "bad" pictures of ourselves. I think my dislike of most pictures of myself has very much stemmed from feeling unseen--and by unseen I mean, not seen for who I am, not appearing visually in a way that meshes with who I feel like I am on the inside. And that's pretty much my definition of feeling ugly.

6) Which leads me to something else I keep thinking, as I look through the hundreds of photos taken by my lovely classmates: If you don't find someone beautiful in some way, you aren't really looking at them. Look harder. With the exception of the average axe murderer, everyone is beautiful. Everyone. Yup, you too.

7) And also: Once you start accumulating pictures that make you feel seen, all the pictures you thought you hated might start to look very different to you. I had occasion to look through some very old pictures of myself just in the last two weeks, during this class, and it was as if I'd never seen them before. As if every instrument I'd ever used to measure them had been recalibrated. Sure, some of them are bad pictures--but that's all they are. They don't reflect who I am--they're just lousy snapshots. And that's different. And it's not a big deal when I'm feeling seen in other pictures.

8) Let's take a look at the word snapshot for a moment. I happen to like it, and the momentary, fleeting, time-bound nature it implies. For the same reasons, I really like the word "capture," despite the fact that it seems to get flung about willy-nilly on the Internet. (Was "capture"--used as a noun--a real photography term pre-Internet-digitized-Flickr photography?) Anyway--it's fitting, I think. It's occurring to me, as I snap picture after picture after picture--in mere seconds, with no space in between them, just trying to keep myself moving the entire time--that a photograph is simply a freeze frame.

Later, after I download the pictures, I can "flip" through them on my computer, zipping from one to another very fast--like a flip book or an old movie reel--and I can start to sense how I move. How that richer, more nuanced, more fluid whole might be beautiful, even if the freeze frames just aren't working on any given day. (And I'm not an Ani Difranco fan, but I have to admit the final lyrics to her song "Evolve" apply beautifully here: "It took me too long to realize / that I don't take good pictures / 'cause I have the kind of beauty / that moves.")

Me, magically making my hair...float?

9) However! I'm beginning to think I would argue that everyone can "take good pictures." Everyone has the kind of beauty that moves, I think, and everyone's beauty can be captured in those freeze frame moments if they/someone tries hard enough, sees them clearly enough. And as I said before, I'm learning that it takes a lot of pictures to get a few good ones. Can I just say that again? A LOT of pictures. Oh! And movement in the moment when you're actually taking the pictures is so important. It keeps you loose, natural, comfortable, and it gives the camera some of that moving beauty to sink its teeth into.

Me, not moving, just exhausted from
taking too many damn pictures.

10) The other thing about taking so many pictures, aside from starting to see how they fit together to make movement, is that they show facets. Whenever I see a lot of different photos of someone, taken over time, I'm often amazed at how different they look in each picture, and at the same time, how recognizable they become over the course of many pictures. I'm noticing that I look vastly different to myself in all my different pictures--though, taken all together, they're clearly making an overarching, collective portrait of me. The pictures represent all these facets of me--different moods, expressions, mannerisms. Things people who see me all the time in real life probably recognize unthinkingly, but I had no idea I consisted of so many tiny moments making up a whole.

11) Some of the activities for this class have sent us out into the world to take pictures. And that's super fun. And also somewhat challenging, because--as you might imagine--people look at you funny when you're jumping around, snapping pictures of yourself and making funny faces at the camera. This is...daunting. And also, once you figure out a way to deal with it, kind of funny and fun. One woman in the class told us that she was simply telling people "I'm doing a project for a class." This, I love. This, I will use--now, during the class, and forevermore. Think of all the deviant behavior that can be excused this way!

(In fact, it makes me think of a fantastic sociology professor at my college, who used to teach a notorious-on-campus Sociology of Deviance class, during the course of which, students were sent out into the world to behave in some deviant manner of their choosing and then to note the world's reactions. Of course, students in that class weren't permitted to make excuses for their behavior. But I wonder if anyone ever thought of taking a quadrillion self portraits, say, on the train from Bryn Mawr to Center City Philadelphia?)

Anyway, whatever excuse you use, you quickly learn that you need to have one. And you still wind up feeling a little inhibited and ridiculous, even once you kind of find it funny to have people giving you weird looks.

And--here's a shock--my pictures from the days when I've felt more inhibited are not even close to as good as the ones from other days. They're not even remotely as open and free and really me as the others. And how fascinating that the presence of other people can so deeply affect how easily we allow ourselves to be ourselves. And how interesting that when we can honestly stop worrying about how people are seeing us, we're so much more able to offer them the opportunity to see us for who we really are.

In conclusion: Take Vivienne's class if you have the chance and the inclination. But even if you don't do that, go take some pictures of yourself. A lot of pictures of yourself. And see if it doesn't change you a little bit.

Here We Are

Just in case you were wondering.

•on collections•

When you get a bunch of things together, don't you just love looking at the set? So many sets in our lives. Leaves on the ground, under a tree. Mushrooms poking up. Fog, seeking nooks and crannies. Visible stars.

We spend so much of our lives arranging and rearranging. Clustering, to make sense. How exactly I got the hang of it, the ability to regard things as whole, I will never know. (Just because I have the hang of it doesn't mean I can always move on. I'll still be tetris-ing certain "sets" for years to come...) Almost everything in life is unfinished. Incomplete. In my early thinking years, I heard this a lot: such-and-such is never finished, only abandoned. I heard those words, and understood they were important, and still--I was dissatisfied with everything I did. Every project, every flippin' cairn. Nothing was ever good enough, nothing "done." My censor was so very, very loud, it's a wonder I'm not deaf today.

Now, I dump out the contents of my green bag (dare I call it a purse?) and marvel at the bits and bobs. Sand. Empty jars of orange peel and cardamom. Sharpies (that's where they went!). A walnut. A cloth napkin, featuring a duck in a shiny red helmet. An uncharacteristic bottle of hand sanitizer. Gathered together, they make a whole. A snapshot. Some kind of story, someone's actual life. I see the set--and, mind you, it's just a pile of crap I'm talking about--and I see that it's complete. As done as done can ever be. Maybe this is a piece of the action/non-action paradigm. Wu wei.

So, I've got some Zen going on, here. About as much Zen as one can pack into a pile o crap with no less than five--5--different lip balms. Huh. This really turns my former aw-shucks-I-suck attitude toward things like, say, my recorded music, on its ear. If I can empty a bag and find magic in crumpled receipts, then.... I can certainly put on an old album and love it for what it is. A set. A snapshot. A done thing, wholly separate from my self, with a life all its own. xox