Salmon again!
May 27, 2010
Earlier this week, I was at a friend’s house for a Beatles listening party. Being generous, I bought food for the occasion, and we cooked together. The grill was fired up and we grilled some salmon, bell peppers and asparagus. It was amazing.
The salmon was sockeye salmon, from the Fresh Market. Previously I had just been using the frozen fillets you can find in any grocery store. But this fillet was huge, large enough for three people, and a beautiful deep orangish-pink, with the skin on the bottom. I had an idea for a salmon rub when I got to my friend’s house. On the counter was an array of spices. I skimmed the labels and settled on some Italian seasoning and some garlic-parsley salt. I just rubbed it on the fillet, and wrapped the fillet in foil. Then it went on the grill.
I hadn’t had a better salmon fillet before. Ever. It was still pink, though cooked all the way through, flaky and moist, and absolutely amazing. And it’s not terribly expensive–$7 for the giant fillet, complete with skin. It should be added, of course, that you should eat the skin when you eat salmon. The skin is very fatty, and the fat is of the omega-3 variety, which has a wide array of positive value. Just don’t eat too much, as there may be an amount of mercury in it as well (but it’s been said that a couple of times a week won’t hurt).
Photo music 2
May 18, 2010
I remember the film processing rooms. They had white walls made of cinder blocks, one long table on one wall, and a sink on the wall adjacent to it. They glowed yellow, creating their own world. I was attached to my friend Michael, and would try to work with him on photography projects. He had good taste in music, though it was a little different from mine over all. Which was ok, because we expanded each other’s musical world.
I had brought a cassette boombox that was small enough to be unobtrusive. It was our lifeline out of the realm that was the photo lab, out of the art complex, out of the campus, out of concrete reality. I remember us, in the dark, cutting the film and trying to load it as smoothly onto the developing reels as possible. Then the light came on, and on came the boombox. It played one of the tapes it frequently played, Pentangle’s first album.
We’d take turns agitating the film tank, laughing and talking, chairs leaning back against the wall. We’d listened to this album maybe a hundred times, driving around shooting photos in the swamp near campus, going over the interstate on random photo hunts. The green grass reflected the light, and the music would run through my head even during lecture. I can hear the bass and see the illuminated screen, the photos by Berenice Abbott, Man Ray, Henri Cartier-Bresson, Edward Weston, the teacher’s hair, long and wild as the spirit of everyone in the class.
The summer slips below the surface. And the siren’s song of love echoes over passing time.
Photo music 1
May 18, 2010
It’s the summer of 2005. I’m in a photography class at University of South Alabama, in what is supposed to be the last semester of my sophomore year. It’s the last week of that semester, and I’m running around frantically trying to come up with photo ideas for my final project.
I haven’t done so well this semester, but that’s not too shocking. The past four or five semesters didn’t go too well either. I’m trying to rebuild my GPA but I can’t focus on anything; I can’t find my drive, through the Lexapro haze. It’s a haze thick and heavy, suffocating any creative energy I could ever have, as it takes away all of my emotion and I can’t feel anything but intense anger or intense hyperactive joy–the two edges of an emotional spectrum.
I can come up with ideas that I’m unable to photograph in the way I want to do it. But all the art is conceptual, not based in any feeling, so I’m failing miserably. Five decent shots I have to do, a series showing how human civilisation destroys everything it touches. Each one I think I got, was jumbled or underexposed and simply doesn’t work. So I ended up with three of the five prints.
So it’s Sunday, before the last day of class. The project is due tomorrow. I’m slaving away in the communal darkroom, trying to move as quickly as possible. I’d run out of RC paper and decided to break open a pack of fibre paper for the project, my first experience with that paper. I’m realising that the prints haven’t fixed long enough, but the lab attendant is trying to get out so he can do something more important to him. In they go to the wash, out they come with nice purple stains. The series ruined, and on to the edition print of one of my photos for the rest of the class. They, inevitably, go badly as well.
I head home, and start trying to matt the final project. I’d bought a matt cutter specifically for this, and I screw up the matting. The time is 4 AM. I decide, as a last resort, to do what the teacher told us not to do: have it done professionally, specifically by a family friend who runs an art gallery.
As I drive downtown at 7 the morning of my final project, I’m listening to the album I’ve been listening to all this week, The Postal Service’s “Give Up.” It’s one of the few albums I listened to this year that really made an impression. I’ve been up all night, and I’m shaking from the morning-after chills and the caffeine as I race through the downtown area toward the gallery. The music seems to balance me out and I somehow am able to function.
It’s five years later. I’m listening to the music that I listened to in 2005 again, almost as an anniversary, as I’m about to process my first film in that length of time. Naturally “Give Up” was the first I had to listen to, and it brought back the memories of the orange sunlight on the buildings and the broken streets, the paintings in the gallery, some leaning against the wall from the floor in preparation for a new exhibition, the green carpet, the black walls of the framing room.
Don’t wake me, I plan on sleeping in. And we can still swim any day in November.
Dating sites
May 10, 2010