Because now that I'm taking pictures again - I'm seeing shapes and colors everywhere - ravishing textures - swoony solids and shadows and contrasts. Which becomes frustrating when I don't have a camera with me or when I'm driving and can't stop (which is why being on bike is better).
Saturday morning we drove into the city for Middlest's cross-country meet. Leaving our corner of the woods and :
- Half-grown calves, white, looking back over their bony shoulders, the early morning light setting the lines of their rectangular backs aglow
- The horse lady - lean and lithe and what you want to call petite until you see the sinews in her arms and the glint of her eye - thick white hair cut short. She's sitting on her tractor in the middle of the road and the morning sun is buttering the swooping line of the jumper cables, the yawning hood of a green truck, her orange tractor, her hair, buttering the flat planes of the face of the man in a John Deere cap standing beside the truck, buttering the glasses and long fat curls of the round-faced woman beside him. All three turn and grin as we pause, "Do you-? nope, I see you've got all the help you need - "
- A young family biking together, triangular orange flag, the yellow-and-blue baby trailer, a swash of tanned back where the man's white shirt gaps up a bit
- The sign for New Life Community Church of God in Christ directly above DQ's Drive-Thru BLIZZARD Here
- In the yard of the AmeriGas place: different colored lids on the white lozenges of gas tanks
- Large drums like search lights in several slightly different sizes up against a factory wall. The wall: pinkish plaster peeling to cream and tan
- Three fan-shaped windows in the white garage door of a house painted deep cornflower blue
- The boxed letters on the sign for ABC Oil Inc. in dark red on a square box of a building painted a pale mint green and the dark red window frames
- Ruffles of a lime green evening cape hung on black railing above a rocky basalt foundation, accompanied by four or five serious suit jackets - some kind of rummage sale, but it looked like a drama getting ready to begin
Afterwards, we pass too fast:
- Yam Yam's Southern Cuisine - a luscious purple A-frame with a purple sign - both sign and building completely and exactly the same true, purple-pansy, crayon purple
- Two flat gray columns between which, beyond which, a wall of concrete blocks painted a deep red
- An orange safety fence, its plastic grid twisted and torqued like the graph of some higher mathematics equation
- The flat stenciled sign for the Fishwife Seafood Restaurant - red background, yellow body and basket, green fins of both sorts (fish & mer)
- The gold background of a mural of a jazz musician - an attenuated and brooding figure - and his dark blue lapels, guitar, shades
- Vivid turquoise Spanish tile on the roof of the white plaster Master Muffler against a periwinkle sky
Especially the blue shadows on:
Until my eye is begging for other colors.
- Two fat people on a fat motorcycle. The bike is red - shiny and deep. She's in black pants, white tee with flapping sleeves, black helmet. He's all in black except for his helmet a dark Bing cherry red to match his bike. Black leather saddlebags with big silver rivets tracing a rounded rectangle. The only straight lines are the white cardboard package standing on-end out of a black stuff-sack behind her.
- Multi-colored containers stacked double-decker on the train: primary red K-Line, blue HANJIN and green
But I'm also dawningly aware how much a camera must leave out. Like how we really see: our flickering focus in and out, the wide expanse of green hills shaggy with Douglas fir, then sudden detail of the corner of a public notice curling up in the wind on the door of an old red barn. My eye rides the grid of window panes, hops from corner and corner - slides up and down the batt-and-groove planking before being drawn away by movement - leaves shivering on the maple and the fluttering shadow underneath.