Portraits of Tiana

Tiana smiles

If you gave me the hypo­thet­i­cal option of pho­tograph­ing any­one I wanted, I’d ask if it could be some­one who had already passed away. If so, I’d choose a Byronic hero like Mikhail Lermontov, or another one of the 19th cen­tury Russian Romantics, or even Lord Byron himself.

If I could choose some­one liv­ing though, I’d choose Tiana.

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The Honeymoon Is Over

Angel I can see myself in your eyes
Angel won’t you feel for me from your heart
Do return my heart to me
No don’t insist I’m already hurt

— Blonde Redhead, Elephant Woman

Yep. It’s over. Although she still doesn’t know.

Maybe it was just a phase. Maybe I’ve accepted the fact that she’s taken. Maybe we’re too sim­i­lar. Maybe I’ve real­ized it would never work. Maybe I just love her less, the more I know her.

Or maybe it was just a phase. One of the many things cured by time.

It makes me won­der if I cling to such feel­ings sim­ply because I love being in love, unre­quited or oth­er­wise. It’s like when you’re in a purely phys­i­cal rela­tion­ship with some­one, and you start get­ting feel­ings for them. You won­der if you’re really in love with the per­son, or in love with the idea that you have some­one with whom to go to bed, some­one to kiss and kiss you back. It’s a blurry line, some­thing you don’t fig­ure out until you remove your­self from the situation.

Not that it mat­ters. I’m over her.

And I’ve lost my inspiration.

Portaits of Meghan

Thumbnail: Meghan in red dress

A few por­traits of Meghan. Her big eyes and waif-like fig­ure give her some­thing of an inno­cent look, while the dress and labret bal­ances this out with a bit of an edge. Very appeal­ing, in my books. Makes you won­der which part is more true of her.

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A Chance To Create

Good news. Wait no. Great fuck­ing news.

I met with Frédéric, the owner of the Salon, and after show­ing him a port­fo­lio of my pic­tures, he agreed to let me have an exhibit in the next show in February.

As this wasn’t only his art gallery but his house as well, I offered to let him make the deci­sion after see­ing my com­pleted work. He told me there was no need, as he trusted me based on what he had seen in my port­fo­lio, which I felt was a very nice compliment.

As artists (and I use this in the loos­est sense of the word to describe myself), we’re very dif­fer­ent. I told him that I like to study pho­to­graphic tech­niques, espe­cially in pho­tos that I like, and apply those tech­niques to what I want to express or show. When I look at a piece of visual art, I look at mean­ing and intent. When I cre­ate, I keep the same thing in mind. Frédéric, on the other hand, is more of a gut-feeling type of artist. He does what he feels is right, and doesn’t worry as much about the under­ly­ing message.

He asked if I was sin­gle, and I told him I was. “Good”, he said, “That’ll help you focus”. It made me think of a quote by Alexander Dumas:

Woman inspires us to great things, and pre­vents us from achiev­ing them.

I made a remark about how I’d have a forum to develop my ideas now, projects I never pur­sued because I didn’t have a way to get them to a wider audi­ence. He told me that I shouldn’t worry about an audi­ence, and gave me an exam­ple to demon­strate his point: if you cre­ate the most beau­ti­ful thing you’ve ever done and you keep it in your base­ment, it isn’t art because no one sees it1, but to get caught up in that dilemma, and to not cre­ate sim­ply because of that, is a tragedy.

So now I can pur­sue and develop one of my photo project ideas. I have to decide on a theme. I have see how much enlarge­ment I can do to my pho­tos with­out too much loss of qual­ity. I have to decide on the size of the final prints. I have to decide on the frame size and shape. I have to get the final prints framed.

I’ve always wanted to cre­ate acces­si­ble art2.

Perhaps this will be my chance.

  1. An inter­pre­tive answer to the Zen kōan of the sound a tree makes falling down in the for­est, I’m sure []
  2. As opposed to some­thing such as poetry, which is less acces­si­ble to the com­mon per­son. As a medium, film, pho­tog­ra­phy, and music (with lyrics) are more eas­ily digestible. []

She Doesn't Know How Beautiful

The art of longing’s over, and it’s never com­ing back.

—Leonard Cohen, Death of a Ladies’ Man

They ask me why I’m cry­ing. I tell them the song is too good, not to cry.

They ask me why there’s a bounce in my step. I tell them I’m in love, and I don’t care.

They ask me if she’s taken. I tell them she is.

They ask me if she knows. I tell them it doesn’t mat­ter as long as I feel this way, and I’m never let­ting go.

They ask me, “Why her?”.

I tell them she makes me happy with­out try­ing.

Hugging Etiquette

She hugged me yes­ter­day. I thought I was over her, but maybe I’m still smit­ten. Physical con­tact does funny things to the mind.

I don’t under­stand why girls are so into hug­ging. Often, I’ll go for a hand­shake, and as if it doesn’t take, they’ll lean in to hug after­ward. A girl once asked if she could hug me after I explained to her my pro­ce­dure for check­ing a cat before adop­tion. Figure that one out.

The funny thing is that most girls aren’t very good hug­gers. They give limp hugs — more of a press­ing of the arms to the body — and it bugs the crap out of me. It’s like get­ting a soft hand­shake, also referred to as the “limp noo­dle”.

Bronwen’s an excep­tion. I always give and get a bear hug from her when I see her and when she leaves. Sometimes we fight for arm posi­tion­ing, because we both pre­fer to have the arms lower than the other. I like to have my arms around a girls’ waist, whereas she likes to have her arms sur­rounded, so she feels protected.

The two Louise’s are/were also good at hug­ging. Nice and firm, with­out being too clingy. Maybe it’s a Louise thing.

It just makes me won­der; if girls are so into hug­ging, why aren’t they bet­ter at it?

A Truth is Worth a Million Words

You inter­pret my heart, my nature, as you wish to believe it.

— Onegin

People see what they want to see.

As I touched on a while back, some of it comes from inse­cu­rity. Other times, from a fal­lacy of pro­jec­tion as some peo­ple igno­rantly, and mega­lo­ma­ni­a­cally, believe that every­one must think and act as they do. There are a few other cases that don’t fit into either of these cat­e­gories though.

An exam­ple: I once offered a guest in my house some yogurt. The first thing he asked was, “Is it going bad?”. He didn’t believe I would have given it to him oth­er­wise. It was a per­fect reflec­tion of his dead­beat friends who expected you to eat before com­ing to a party, and he had never known any other type of peo­ple. A more extreme exam­ple is if you offered to feed some­one at your house and they got insulted because they thought you were imply­ing that they couldn’t afford to feed them­selves. Some peo­ple see things that aren’t there. It’s an amaz­ing sub­con­scious sign of their characters.

The way some girls inter­pret things is also an inter­est­ing phe­nom­e­non. Some of them think a guy who’s talk­ing to them must be hit­ting on them so they drop the b-bomb in ran­dom points of con­ver­sa­tion, just to warn you they have a boyfriend. Some girls think you’re gay because you don’t make any advances towards them. Some girls think you’re torn up, depressed because they declined your advances, and end up mak­ing a big­ger deal about it than you do. I want noth­ing more than to tell these girls to get over them­selves, but I bite my tongue because they end up embar­rass­ing them­selves more than I could ever do myself.

There are also times when a per­son is so pig-headed and stub­born that they see every­thing through a fil­ter, inter­pret­ing your actions in some crazy way, and believe you’re at fault because they sub­con­sciously refuse to see their own mistakes.

The old me would have been insulted when some­one assumes I’m a cer­tain way. Nothing would anger me more than some­one pre­sum­ing to know how I feel or what I’m like, and I used to care des­per­ately what they thought, even if I knew I was just mis­un­der­stood. It’s an inter­est­ing feel­ing to be passed that now1.

The truth leaves no room for bias, only interpretation.

I’ve learned never to take respon­si­bil­ity for other peo­ples’ inter­pre­ta­tions. Only take respon­si­bil­ity for your intent. You learn a lot about a per­son from the way they inter­pret things and from the way they see the world.

With the truth in your heart, it doesn’t mat­ter what any­one thinks.

With the truth on your side, noth­ing can go wrong.

  1. It’s actu­ally been quiet a few months since I wrote this entry. I didn’t post it at first because I wanted to be absolutely sure that it wasn’t a fickle feel­ing, and that my strength was firm. Reading back on it now, it seems more rel­e­vant than ever. []

Portraits of Gosia

Thumbnail: Gosia tilts her head 
Thumbnail: Gosia's eyes 
Thumbnail: Closeup of Gosia's eyes 
Thumbnail: Gosia's face in shadow 

A few por­traits of Gosia. She’s a first-generation Canadian, her par­ents being immi­grants from Poland. One can tell she has a very European look.

Thumbnail: Gosia hams it up 
Thumbnail: Gosia on a bench 

These were taken with the sun com­ing from behind because Gosia was squint­ing too much oth­er­wise. I tried my flash as a fill-in to bal­ance the bright­ness of the back­ground, which helped increased sat­u­ra­tion in the fore­ground. I love the colours in these shots, they’re so dreamy.

Thumbnail: Gosia awesome abs 

Another addi­tion to my body shot series. Gosia’s a com­pet­i­tive vol­ley­ball player, so she has awe­some abs (not to men­tion killer curves).

Thumbnail: Gosia covered 
Thumbnail: Gosia behind a fence 
Thumbnail: Gosia's reflection in a mirror 

A lot of guys are some­what blinded by Gosia’s beau­ti­ful big eyes and curvy fig­ure; they’re don’t real­ize that she’s quite a strong, intel­li­gent per­son with a good head on her shoul­ders. The idea of these shots was to cover up part of her face, not through the fram­ing of the pic­ture, but using objects to help the viewer see past her phys­i­cal beauty.

Christie Had A Speech Impediment

Her unwit­ting nick­name in high school was Fudd (as in Elmer), because her “r“s came out as baby­ish “w“s.

This was par­tially due to the fact that she would imi­tate her older brother in admi­ra­tion dur­ing child­hood, after he devel­oped his own imped­i­ment from an oro­fa­cial sports injury. The other, and much more severe, aspect of her imped­i­ment was a ran­dom and sud­den inabil­ity to speak. No stut­ter, no slur.

As her speech ther­a­pist explained, it was a short-circuit in the brain, caus­ing her to believe that a sen­tence was fin­ished when she was only half-way through say­ing it. The only prob­lem was that she would get stuck on a word. On good days she sim­ply couldn’t repeat it, on bad days she couldn’t speak at all. Most peo­ple thought it was brought on by a rather trau­matic series of events brought on by her sup­posed friends in high school. The was­cals.

I always found it endear­ing, but she never cared for it. One of the tricks she used to get by was to take her time in say­ing a word. E-nun-ci-ate. It was like mas­sag­ing the ten­sion from a mus­cle, and slowly, she would be able to speak again. Another trick was to imag­ine being in a com­fort zone, which was her room, to relax when she was flustered.

I’ve always found that girls share some intrin­sic bond with their rooms. It’s almost as if they’re fol­low­ing an evo­lu­tion­ary nest­ing instinct, and their rooms become their homes. A place to grow and be safe. Along with the care­fully lined-up books and the ran­dom pieces of jew­ellery, the hid­den cache of pho­tos and the pur­pose­fully placed can­dles (some of which must never be lit), are the char­ac­ter­is­tic quirks.

Christie could never fall asleep if one of her dozen stuffed ani­mals were fac­ing her. Her bed­time rit­ual was to make sure that each one was turned away.

In time, Christie’s com­fort zone became the walk-in-closet of my room. She was old enough to make love, but simul­ta­ne­ously too young to stay overnight, so we would spend most of our time in there, the place where we could reach out and feel the walls around us, con­fined to the inti­macy of the enclo­sure. We spread out the blan­ket, lit the can­dles, and closed the door.

After a while, the humid­ity would build up, and this was no more appar­ent than in the win­ter when we would crack open the door and tan­gi­bly feel the chill on our skin. Opening the sun she called it, as the day­light sharply spilled on the blan­ket that cov­ered us. It was the only place where we could shut out the world, the only place that felt like night.

In a rela­tion­ship, shar­ing the night is more impor­tant than shar­ing flu­ids. Falling asleep with some­one is an accep­tance of trust, a way of say­ing that we’re com­fort­able enough to drift into our sub­con­scious minds. Perhaps it was the unavail­abil­ity of such a rit­ual that’s given the night so much significance.

Having no night of our own, we had to make due. I cov­ered one side of a card­board panel with glow-in-the-dark stars and sus­pended it from the top of the room. The panel was large enough to fill the vision, and in the dark­ness the closet became a micro­cosm of the starry sky. Even in the mid­dle of day it was near black­ness, and we’d lose track of time, hud­dled under the blan­kets with her sleep­ing at my chest, or lying there face-to-face, talk­ing while I ran my fin­gers through her hair. Sometimes, all we would do was get together and nap.

And even­tu­ally, Christie didn’t have much trou­ble speak­ing anymore.