Jaguar Rising (The Novel)

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I’m happy to announce the re-publication of the first novel in the trilogy, The Path of the Jaguar. The revised edition of Jaguar Rising has far less Maya vocabulary and I use the contemporary rather than ancient names of their cities. In the course of editing the book it turned out to be shorter—and I think more readable for lay readers.

When I wrote the first edition, I expected the primary audience for the series would be Maya scholars—archaeologists, art historians and anthropologists. I was very wrong! Turns out, very few of these professionals have the time or inclination to read novels of any sort. Most gratifying for me has been the response from people who simply like to read books in the “historical novel” genre.  The reviews on Amazon and elsewhere have all been five-star.

The three stories stand alone, but if read in order—Jaguar Rising, Jaguar Wind and Waves and Jaguar Sun—the reader gains a perspective that is only hinted at in each book. That is, “Jaguar” in the titles is used as a metaphor for the soul—spoken of in the text as “ch’ulel,” the Maya word for the soul—which was and is perceived differently in some ways from Western cultures. So the series is, in essence, the path of the soul, each story featuring the same soul, variously male and female, in three incarnations that span the Classic period of Maya civilization, and each plot takes this soul through trials and initiations on his way toward self-realization. The story is not about reincarnation, but I used that idea as a literary device so the story could be written in first person, present tense. I wanted readers to experience the jungle as well as the history, lifestyles, politics, myths and consciousness of the Ancient Maya.

The new edition is available at Amazon.com. Here’s the description on the back cover:

Jaguar Rising: A Novel of the Preclassic Maya is an adventurous coming of age historical novel about a young man who struggles to find his place at a time when charismatic rulers and innovators were building cities and giving form to their ideology in art, architecture and ritual spectacle. By 35 B.C.E., Maya civilization was already flourishing in the jungles of Belize, Mexico and Guatemala.

K’akich Bahlam, “Fire-Eyes Jaguar,” is caught in a tug-of-war. Raised the son of a long distance merchant who was away on expedition for long periods, and being closer to his uncles, he wants to follow them onto the path of builders. On the doorstep to manhood however, he discovers that he has inherited royal blood and that the prophecy given at his birth requires him to prepare for a life of privilege leading to the possibility of ruling.  Although they are at odds with one another, both his overbearing father, Thunder-Flute Rabbit, and his spiritual teacher, White Grandfather, guide K’akich toward the throne. They say a man cannot resist his blood; neither can he refuse to walk the path the ancestors laid out for him. Along the way, K’akich discovers that he has the heart of a mural painter.

Encounters with men and women at every level of society combine with altered-state experiences, initiation rites, battles, shamanic rituals and painting commissions to carry him to the inevitable like a canoe on a fast-moving stream. Must he choose the path of his blood or can he follow his heart? Can he choose both? Can he choose at all?

Daylily Leaf

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For over a year now I’ve been photographing flowers, plants and weeds in the studio against plain black and white backgrounds. This initiative entitled Reverence For Nature’s Geometry: Flowers, Plants and Weeds In Black and White began with the intention of exhibiting the prints in a gallery setting, allowing me to use my 4×5 view camera and see the images large and framed. I got into a pattern of photographing on most Mondays, processing the film on Tuesdays and making 16×20 prints on Wednesdays.

Through the Fall of 2015 and continuing through the Winter months of 2016, I printed and archivally processed images from three negatives a week. While the quantity was small, the experience of being able to take my time with lighting and printing was wonderful. Black and white photographs—images on photographic paper, including the process of making them—have always fed my soul. Wanting to return to my photographic roots after a dry period, and realizing that I’d been photographing flowers, plants and weeds in black and white since I began using a camera seriously, I initiated this project. The joy it provided continues to this day.

Every particular in nature, a leaf, a drop, a crystal, a moment of time is related to the whole, and partakes of the perfection of the whole. 

Ralph Waldo Emerson

 

ABOUT THE IMAGES

They are each variations on a single daylily leaf.

Morning Light

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Early Morning Fog

 

This past week I gave myself a birthday present—four days of photographing in the rolling farmlands of Central Ohio. I thought I would share a few of the images, particularly those shot around sunrise.

An early-morning walk is a blessing for the whole day.

Henry David Thoreau

 

 

 

 

 

 

Nature’s Fireworks

Happy Fourth of July!

 

 

The Healing Power of Art

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In the process of attempting to find a home for my photographs on the walls of hospitals, nursing homes, hospice centers, physician and dental offices I sought out evidence for what I already knew—that beautiful images can and do contribute to healing. What I found was fascinating and encouraging for serious photographers, amateurs and the public at large. Some of the more pertinent and useful findings are presented here in modified form, enough to demonstrate conclusively that art, and photographs in particular, significantly contribute to health and healing.

My primary source for what follows is A Guide to Evidence-Based Art, by Kathy Hathorn and Upali Nanda.

Art Is A Critical Component Of The Healthcare Environment

  • “Hospital interior design features were the most common room features noticed by 380 participants in this study. Their comments relating to décor were often about the artwork in a room.”
  • “Of the 2,000 hospitals responding, 73% reported permanent displays of visual art in the hospital. 32% had rotating exhibits, typically of art by local or regional artists. 96% of hospital arts programs were intended to serve patients directly… Benefit to patients was the primary reason (78.8%) given for having arts programs, noting them specifically to be a part of their mental and emotional recovery (72.8 %).”
  • Of the hospital arts programs surveyed, 55% “focused on the hospital staff as a way of reducing stress and burnout, which is a monumental problem for hospitals.”

Research conclusion: “The evidence makes a strong case that art is a critical component of the healthcare environment, which can aid the healing process.” (Harris, McBride, 2002)

Evolution Favors Certain Subjects In Art

  • “Richard Coss is credited as the first researcher to advance the theory that humans respond to art on an evolutionary level as well as an intellectual or aesthetic level.”
  • “Humans are genetically predisposed to notice and be positively effected by smiling or sympathetic human faces.” (Ulrich and Gilpin, 2003). Ulrich has substantiated the above claim with respect to nature art with a preponderance of evidence on how access to nature (even nature in art) affects patients. He found that “postoperative gall-bladder surgery patients whose rooms had windows with views of a park had better outcomes than those patients whose rooms had windows with views of a brick wall. Patients complained less to staff, needed analgesic pain medication of lesser strength, and were discharged earlier.” (Ulrich, 1984).
  • “In a study with postoperative heart patients in Sweden it was found that exposing heart-surgery patients in intensive care units to nature pictures improved outcomes. On the other hand, patients reacted in a strongly negative manner to abstract art.” (Ulrich, Lunden, and Eltinge, 1993).
  • “In another preference study Eisen (2005) showed that children in hospital settings also prefer representational nature art to abstract art. In fact, contrary to common assumptions that children only like large cartoon-like or fantasy images, a study with patients at Memorial Hermann Hospital in Houston, TX, showed that children highly rate nature images with bright colors, water features, and non-threatening wildlife.” (Nanda, Hathorn, Chanaud, & Brown, 2007).
  • “In addition to the preference for natural landscapes, Ulrich and Gilpin (2003) cite previous works by Ulrich (1993), Coss (1968), and Orians (1986) to stress how evolutionary theory is an indicator of subject matter that should be avoided, especially for highly stressed patients. These include natural elements and situations that may be perceived as dangerous or threatening such as snakes and spiders, reptilian-like tessellated patterns, large mammals staring straight at the viewers, and angry or scary human faces.”
  • “Based on an extensive body of both scientific studies and anecdotal accounts, Ulrich and Gilpin (2003) have developed the following guidelines for appropriate art content in healthcare settings:
    • Waterscapes: Calm or non-turbulent water
    • Landscapes: Visual depth or open foreground trees with broad canopy savannah landscapes
    • Verdant vegetation
    • Positive cultural artifacts (e.g., barns and older houses)
    • Flowers that are healthy, fresh and familiar
    • Gardens with open foreground
    • Figurative art: Emotionally positive faces, diverse, leisurely

Themes Discovered In Kathy Hathorn’s Study

  • Art makes patients and staff feel better.
  • Art allows patients and visitors to focus on something other than than themselves and other people’s condition.
  • Art contributes to the perception of a caring environment.
  • Art makes the hospital less intimidating.
  • Patients, visitors, and staff use favorite pieces of art to destress; particularly true for the staff.
  • Prominent pieces of art serve as landmarks for patients and visitors.

Nature Art Promotes Restoration

  • “Nature art (or art with views or representations of nature) will promote restoration if it contains the following features: calm or slowly moving water, verdant foliage, flowers, foreground spatial openness, park-like or Savannah-like properties (scattered trees, grassy undershot), and birds or other unthreatening wildlife.” (Ulrich and Gilpin, 2003, p.123).

Murals Provide A Distraction From Pain And Anxiety

  • “Murals, as a distraction, resulted in a significant decrease in reported pain intensity, pain quality, and anxiety by burn patients.” (Miller, Hickman, & Lemasters, 1992).
  • “Evidence from heart-rate recordings and questionnaires showed that stress in a dental clinic was appreciably lower on days when a large mural was hung at the back of a waiting room.” (Heerwagen, 1990).
  • “Images of serene nature scenes mounted to the ceiling were shown to highly stressed pre-surgical patients on gurneys; this resulted in lower blood pressure.” (Coss, 1990).

Study Findings Reported In The Wall Street Journal by Laura Landro

  • “With studies showing a direct link between the content of images and the brain’s reaction to pain, stress, and anxiety, hospitals are considering and choosing artworks based on the evidence and giving it a higher priority than merely decoration for sterile rooms and corridors.”
  • “These are not just accoutrements or aesthetics anymore,” says Lisa Harris, a nephrologist and chief executive of Eskenazi Health, affiliated with the Indiana University School of Medicine in Indianapolis.
  • “Anne Berry, 81, says, ‘It makes me think of flying.’ She visits the hospital for procedures and tests such as a mammogram and always takes time to look at the artworks. She has “white coat syndrome,” which makes her nervous about going to a doctor, but she says, ‘I have found the art and the environment at Eskenazi makes it less stress-inducing for me.’”
  • “One 1993 study found that patients exposed to a nature image experienced less postoperative anxiety and were more likely to switch to weaker painkillers than those who viewed an abstract image or no image.”
  • “A 2011 study found that nature images helped calm restless behavior and noise levels in two Texas emergency department waiting rooms.”
  • “In the spring 2014 issue of the same journal, the Cleveland Clinic reported that patients surveyed on its contemporary collection—which includes abstract and nonrepresentational imagery by some prominent artists—reported a significant positive effect on their experience and on mood, stress, comfort and expectations.”
  • “The aim is to take your mind away from the disease and replace the time you are losing inside hospital with some beauty.”
  • “Some patients in the Cleveland Clinic’s survey reported they were ‘motivated to get out of bed to view the artwork.’ Patients with post-traumatic stress disorder and generalized anxiety disorder reported the most significant positive improvement in mood.”
  • “The Mayo Clinic in Jacksonville, Florida, chooses art to create a ‘healing environment,’ says Chrysanthe Yates, director of its Lyndra P. Daniel Center for Humanities in Medicine.”

These studies and comments are significant for photographers whose intention is, at least in part, to produce images that have the potential for healing—by suggesting subject matter. Laura Landro’s finding that “Visual images positively affects stress, anxiety, fear and pain,” in hospital environments says to me that photographs can convey the same benefits in the home. As Linda and I have, I would encourage readers to select one or two of your most beautiful photographs to enlarge, frame and display in your home. If you don’t think you have some images that are suitable, take your camera to someplace beautiful—or find something or someone beautiful—and create.

References

Coss, R. G. (1990). Picture perception and patient stress: A study of anxiety reduction and postoperative stability. Unpublished paper, Department of Psychology, University of California, Davis.

Eisen, S. (2005). Artfully designed pediatric environments. Unpublished doctoral dissertation, Texas A & M University.

Harris, P. B., McBride, G., Ross, C., & Curtis, L. (2002). A place to heal: Environmental sources of satisfaction among hospital patients. Journal of Applied Social Psychology, 32, 1276–1299.

Heerwagen, J. (1990). The psychological aspects of windows and window design. Paper presented at the 21st Annual Conference of the Environmental Research Design Association, Oklahoma City, OK.

Miller, A. C., Hickman, L. C., & Lemasters, G. K. (1992). A distraction technique for control of burn pain. Journal of Burn Care Rehabilitation, 13(5), 576–580.

Nanda, U. & Hathorn, K. (2006). Current Research on Evidence-based Art Programs. Healthcare Design Conference. November 2-6. Dallas, Texas.

Orians, G. H. (n.d.).The Society for the Psychology of Aesthetics, Creativity, and the Arts: An evolutionary perspective on aesthetics. Retrieved Jan, 15, 2007 from http://www.apa.org

Reber, R., Schwarz, N., & Winkielman, P. (2004). Processing fluency and aesthetic pleasure: Is beauty in the perceiver’s processing experience? Personality and Social Psychology Review, 8(4), 364–382.

Ulrich, R. S., Lundén, O., & Eltinge, J. L. (1993). Effects of exposure to nature and abstract pictures on patients recovering from heart surgery. Paper presented at the Thirty-Third Meetings of the Society for Psychophysiological Research, Rottach-Egern, Germany. Abstract published in Psychophysiology, 30(Suppl. 1), 7.

Ulrich, R. (1984). View through a window may influence recovery from surgery. Science, 4647, 420–421.

Ulrich, R. S., & Gilpin, L. (2003). Healing arts: Nutrition for the soul. In S. B. Frampton,L. Gilpin, & P. A. Charmel (Eds.), Putting patients first: Designing and practicing patient-centered care (pp. 117–146). San Francisco, CA: John Wiley & Sons.

The Benefits of Photography

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A recent study in the Journal of Personality and Social Psychology found that “Taking photos enhances the enjoyment of positive experiences across a range of contexts and methodologies.” Among the 2000 individuals studied, those who took photos generally derived more enjoyment from a positive experience—such as a family outing or travel—than those who did not.

Researchers in the study observed that taking photos “directs greater visual attention to aspects (italics mine) of the experience….” Certainly. With cameras in our hands we’re in hunter-gatherer mode. The brain switches from general observation where we’re looking, to specific considerations of a subject where we’re perceiving—seeing in the sense of trying to understand and better relate to what we’re seeing.

The capacity that a camera provides is not only the ability to capture an image and share it—which alone is pleasurable—it also expands the ability to see, imagine, understand and appreciate. And because photos capture a moment in time, we can study the content more closely—as in these contemplations—and revisit the images as historical documents.

There are those who argue that seeing the world through a camera lens is a step removed from direct experience. Indeed, that would be a problem if the viewfinder provided the sole means of observation. But it doesn’t.

We use cameras selectively. When something attracts our attention, we want to explore it further, hold onto it, share it or engage it creatively. There are many different reasons for taking pictures, but almost always the desire is prompted by an attraction. Whether or not we are aware of it, we create images as a response to love, the energy of attraction.

Obviously, a photo of a peony is not a peony. It is, however, a representation that provides a different kind of experience. The odor and movement of the flower are missing and the colors may be somewhat different, but its image—on paper or on a screen—generates the experience of beauty nonetheless. It touches the aesthetic “nerve.” And there are differences in consequences. Experiencing a flower directly can be exquisite, but it’s also momentary. We take in the colors and odor, marvel at its very being, comment on its beauty and condition and so on.

One step removed, a painting or photograph of that flower evokes the experience of beauty, perhaps not as poignantly, but now it includes insight into and a reflection of the person who made the reproduction. Attention shifts back and forth between the object and the image maker. Is the reproduction a faithful rendering or an attempt at impressionism? It is a unique or interesting interpretation? Does it resemble images made by notable painters or photographers? Why did the artist choose this perspective and these colors? What was he “saying,” given the choices he made? And so on. In this way, the act of photographing expands both the artist’s perception and her awareness of self and subject matter.

I discovered photography in 1955 by joining my high school Camera Club. It was the only extra curricular on the list that appealed to me.

Some months later, just moments after this picture was taken, I was adjusting the focus knob on the enlarger and knew for certain that, whatever else would happen in my life, photography would play a prominent role. At that time and for decades later, the bright lights in photography were those who made and exhibited pristine photographs. When I met Ansel Adams at RIT in 1963 he’d just published a book but was relatively unknown.

Technically and aesthetically his 16×20 prints amazed us. He set the bar impossibly high, given the technologies of the day. Other photographers who gained prominence before and after him were  those who could achieve high levels of technical and pictorial quality. Photo historians regarded them as “masters.” And rightly so. Their preferences in subject matter tended toward land and cityscapes, architecture and nudes.

Cameras with more features and better lenses, paralleled by improved color quality ushered in the Modern Period where the preference was for big, colorful and beautiful images that evoked a Wow! response. Following this movement and into the present, the preferences of Post-Modern photographers were more on the bizarre with a preponderance of social commentary, favoring documentation over aesthetics.

Until recently, photographic excellence required a lengthy and technical learning curve. With the advent of digital technology that is no longer the case. A child with a smart phone can produce equal or better technical quality than an expensive film camera.

I make a distinction between “taking pictures” and “making images.” Clearly, the study cited above focused on the former—recording subjects and events for the delight of sharing.

Taking pictures does, in fact, “heightens the enjoyment of an experience” through focused attention and increased engagement. But in terms of camera use, even by the general public, enjoyment is just the tip of the proverbial iceberg. The act of making images can be and do so much more—as I hope this blog has demonstrated. The making and contemplation of images and photographs—images on a paper substrate—for the purpose of exploration and creative expression can contribute substantially to personal growth, Self and social awareness and spiritual enrichment.

Don’t take my word for it. Take your camera out for a whirl. Go somewhere you’ve never been before with the intention of capturing images that convey the spirit of the place. Print the images that work best for you and sit with them in silence to see if there is one, or a combination of images, that evoke consideration—thoughts or feelings about life, living, yourself or the world. What in particular do the images say about you and your preferences for subject matter and composition?

Keep in mind that finding information in a photograph is not a matter of identifying objects, but rather in finding meaningful patterned relationships between you and the world as you see and experience it. Notice subtle feelings as you contemplate your images. They are a reflection, in truth a representation of your consciousness! Ask if they were successful in expressing the spirit of the place. If so, what were the contributing factors? If not what would you do differently in order to make the images more expressive—to yourself and others? Ultimately, immersion into any creative process is a journey into Self. Like any other tool, a camera can be used in many different ways. Whether we’re talking about hammers, computers or cameras what matters is how we choose to use them.

Once it has selected a photographer, spirit always stands still long enough to be recorded.

Anonymous

Photography brings what is not visible to the surface. I continue on my way seeking my own truth ever affirming today. When I photograph, I make love. Photography is my passion; the search for truth my obsession.

Alfred Stieglitz

I have always felt that is is how one sees rather than what one sees that makes any photograph interesting.

Michael A. Smith

What is it that I feel most deeply about in life? Are these feelings coming through in my images? What is the subject matter I relate to the most intimately and profoundly? What is it that I see that no one else does, that only I can show the world?

Robert Hecht

The mission of photography is to explain man to man and each man to himself.

Edward Steichen

ABOUT THE PHOTOGRAPHS

The posy was growing in Linda’s garden and I photographed it there. The image of myself in the darkroom was taken by another student, Charlie Keyes. We were constant companions most days after school, printing the photographs we’d taken for the yearbook. Many years later I published a Blurb book entitled “Milestones,” to tell the story of my life in photography, illustrated with photographs that marked milestones in my development. The book begins with a picture of my mother and me next to my first birthday cake and my one gift—a Kodak Brownie.

You can connect to my PORTFOLIO SITE here.

Web Site Announcement

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I’ve been working on a portfolio web site for quite some time. Now that it’s on-line I am delighted to share it with you. The purpose of the site is primarily to gain more exposure for my work. There are many images, so you might want to bookmark the site and review it a bit at a time.

Because I believe that beautiful images can contribute to healing, I am also interested in having them find a home on the walls of hospitals, nursing homes, hospice centers, certain non-profit organizations, socially responsible corporations and interior design firms who serve these entities.

Toward that end I will be sending 5×7 photographs to those in charge of interior design in these facilities. The front side will have the above image on it, and the back will have the site’s address. If you would like to receive one of these, perhaps to use as a bookmark—or have me send one to someone you know—just make a request via email <smithdl@cinci.rr.com>. I hope you enjoy the photographs.

www.DavidLSmithPhotography.com

 

 

 

Publication Of “Contemplative Photography”

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Contemplative Photography: Reflecting On Photographs is a compilation of images and related texts derived from my weekly blog postings. This and my other photography books can be previewed page by page by going to the links below. When I was getting started in photography the quality of printed books was generally very poor. The only way to experience high quality photographs was to attend an exhibition of original gelatin-silver prints. No longer. The quality of inkjet prints has been excellent for several years.

Now the quality of black and white inkjet printing has caught up. Since archival tests have shown these prints to hold up for close to one hundred years—if kept in a light-tight, low humidity box—many, perhaps most, notable photographers have abandoned the film and wet process, particularly since  galleries are increasingly selling digital inkjet prints. At a conference of photo gallery owners in New York I attended a few years back, color inkjet prints were selling alongside gelatin-silver for thousands of dollars. Black and white inkjet prints were just beginning to sell, but at much reduced prices. That too has changed. Some photographers and dealers are saying the quality of an inkjet print can be better than a silver-gelatin print.

One of the consequences of advances in digital imaging and printing technologies has been a substantial reduction in the number of photographic exhibitions—outside of the five largest cities in the United States. Work is still exhibited at outdoor fairs and certain city-wide celebrations of photography, but the traditional exhibition by a single photographer is rare. They are costly to produce, launch and promote. There are time restrictions and sales by non-celebrity photographers barely cover the cost. The publication of photography books by unknown photographers—or those without a gimmick or sensational content—has for years been virtually impossible. This is understandable, considering the publishing industry’s struggle for economic survival in the digital age.

On the upside, photographers of all stripes can reasonably and cheaply self-publish high quality books. While not achieving a large national audience, these books appeal to collectors and people who appreciate fine photography. They make great gifts. The photographer designs every aspect of the formatting and printing. And promotion and sales are handled by a third party. Beyond the prestige factor, the reasons not to self-publish is the small audience and lack of profitability.

In such a climate artists need to  examine their purpose. Why do I photograph? To make money? Communicate? Become known? Make a contribution to the field? Or simply have the work seen? Equally important—For whom am I producing this work? Where does my satisfaction lie? My response to the question of purpose flows from the discovery early on that I was compelled to photograph. I would do it, even if there was a certainty that not one person would ever see what I produced. Simply put, I love the world and photography is the best way I can express that love.

My intention has never been to document or comment. Neither did I intend to make money or gain notoriety as a photographer. I just wanted to express the feelings of love and awe that begin with observing the subject and extend throughout the process, even to the signing of the finished print. I always wanted to my work to be seen—in the hope that some of what I felt could be shared, if even just a little. If my prints could talk, I’d want them to be a statement about the blessedness of Being.

Toward these ends, self-publishing has been a blessing for me. This is my twelfth photography book. I’m very pleased with the quality of the printing. And I invite you to give it look. On the Blurb website, click on the book’s cover. When the page opens, click the “Preview” tab, then select “Dust Jacket” and click on the book again to turn the pages. The book(s) can be enlarged to full screen by clicking on the double, out-pointing arrows above the book. I’ve allowed that every page can be previewed. And the text is readable at the enlarged size.

Here is where you will find all twelve of my photography books.

Here is where you will find “Contemplative Photography” alone.

 

Aesthetic Preferences

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This haunting little image was made before sunrise on a cold October morning. I was cruising the back roads in the hills of Amish country in mid-state Ohio, when I saw an orange light in the window and a whisp of smoke—not much else—as can be seen in the color image below. That original was tack sharp and very underexposed. When I saw the smoke I wondered if there was some gradation there, so I made a duplicate and converted it to black and white in Photoshop.

After teasing out some detail in the elements surrounding the house and boosting the exposure level I noticed that I preferred the black and white image, despite the appeal of the orange light in the window cutting through the overall blue atmosphere. The increased camera sensitivity and exposure boost in the black and white image resulted in a lot of “noise.” The graininess is very apparent when it’s enlarged even a little. Viewed at this size however, the black and white  appealed to my aesthetic, more so than the color image. You may disagree.

It raised a question in me. Considering that the  light in the window is what captured my attention on location, why do I now prefer the black and white image? As I was reviewing my black and white collection for possible images to contemplate this week, I stopped on this one and kept staring at it. I liked it but didn’t know why, and a theme wasn’t coming to mind. The nature of contemplation is precisely to hold the attention on something long enough that an insight can emerge. So I stayed with it, kept looking and asking that question.

I noticed that themes having to do with the occupants of the house, their economic situation or the Amish way of life didn’t appeal. Those weren’t tracks I wanted to explore. Looking at the images side-by-side, I realized that what captured and held my attention—made me stop to engage heart as well as mind—was the aesthetics involved. While the original image benefitted from simple color contrast—orange against deep blue—the black and white image had some “tooth” to it, expressed in the wispy tail of smoke, the woodland textures and fence, the swing set and slide, the light in the window and the hint of daylight on the front of the house.

Combined, these elements evoked in me the sensibility of “early morning” rather than the “middle of the night.” I usually prefer image simplicity, as few elements as possible to create impact. But here’s an instance where complexity—more information—shifted the statement from “Here’s a house where everyone’s asleep and the light was left on,” to “Someone in the family is up early, warming the house, preparing for the day.” In the color image there’s a light in the window. In the black and white image the light is in a person or family. There’s a sense of caring that comes across. Arguably, that’s one of the qualities that makes a “house” a “home.” Of course, the reality could be very different from the one imagined here, but the prerogative of the image maker is to express his or her personal preferences—a unique way of seeing.

 

In the dark we will always seek the light; that is the real bottom line.

Deepak Chopra
ABOUT THIS IMAGE

Title: Light In A Window / Smoking Chimney

Location: Baltic, OH (Amish Area)

Before I rolled down the window to take the shot I turned the car’s dome light on so I could see to crank the camera’s sensitivity (ISO) setting to increase the chances of actually recording something. I turned off the engine to eliminate vibration, braced myself and the camera for the slow shutter speed, made the exposure, closed the window and drove off hoping I could “fix it in post.”

An Appreciation Of Being

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I was surprised to learn that tulips are originally from Persia. They were brought to the Netherlands in the 17th century. The name comes from the word turban or “taliban,” the wraparound headdress worn by many Middle Eastern people. In Latin, it translates to “tulipa.” The flowers pictured here are a hybrid known as “World’s Favorite.” Linda planted the bulbs in the Fall, and when they came up in early April, she and I were stunned by their beauty. The picture in the catalog she purchased them from didn’t do justice to the reality. I couldn’t go past our kitchen window without looking out to admire them. One morning when the sun raked across the crimson and yellow heads with the leaves not yet fully illuminated I planned to photograph them the next day. I sat on a cushion to get the low angle but it was worth it.

When the tulips matured, Linda put one of them in a vase and set it in the living room. Seeing the striations and yellow “feathering” up close, I had to take it into the studio to get some feature shots.

 

In meditations the mind attempts to focus on a point—a mantra or the breath. Contemplations focus the attention on a theme that’s allowed to unfold or develop. Both are mental exercises. There are some instances however, when words are inadequate, even get in the way. I wanted to use the tulip images for this blog, but when I thought of some themes none felt right. Rather than evoking thoughts, the images evoked feelings—mostly a stream of Wow’s! When that happens—typically in the presence of awesome natural beauty—I purposefully relinquish words and downshift from “head” to “heart” mode. To affect this shift I use the little phrase “I rest now in the silent truth of Being.” Without words that typically identify, describe or analyze, the heart seems to envelop the subject and be fully present with it—like a loving hug of appreciation. So I offer these images, less as a contemplation and more as an invitation to appreciate the Beingness represented here. Gratitude as well for their beauty and the gift of photography as a medium for sharing that this magnificent being up close.

The white heart on the above petal was actually there. I didn’t notice it until I looked closely to see how I wanted to photograph these petals. Those in front had dropped off.

A little research later on turned up the fact that florists consider tulips to generally symbolize fame and perfect love. “Fame?”

  • Red tulips mean “believe me” and are a declaration of true love.
  • Variegated tulips mean “you have beautiful eyes.”
  • Yellow tulips mean “there’s sunshine in your smile” and cheerful thoughts.
  • Cream colored tulips mean “I will love you forever.”
  • White tulips symbolize heaven, newness and purity.
  • Purple tulips symbolize royalty.
  • Pink tulips mean affection and caring. 
  • Orange tulips mean energy, enthusiasm, desire, and passion.

There is nothing to seek and find, for there is nothing lost. Relax and watch the ‘I am.’ Reality is just behind it. Keep quiet, keep silent; it will emerge or, rather, it will take you in.

Sri Nisargadatta Maharaja

“Jaguar Sun”

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Announcing the publication of Jaguar Sun — my third novel in the series, The Path Of The Jaguar

In 1967, the year we were married, Linda took me to San Ignacio, Cayo in Belize where she had taught English for over a year. It had been a profound experience for her. And it was for me. We arrived late at night to stay with her dear friend and family. Being a city kid I was freaked by the biggest roach I’d ever seen—in my bed. Then when the fluttering overhead in the “bathroom” turned out to be a bat, I wanted out. Phone service and transportation were minimal and on a schedule, so I was stuck for at least another day.

The next morning I awoke to the sights and sounds of a lush jungle. After photographing the dripping wet greenery, parrots and clapboard houses I was hooked. Days later, while riding an open jeep over a pitted dirt road I asked about a tall bump on the horizon. Linda explained that it was a Maya ruin. I’d never heard that word, so she explained that the area was once home to an ancient civilization. I thought nothing of it. Later, back home in Cincinnati, I was in the library and a title caught my eye—The Ancient Maya by Sylvanus Morley. Reading it ignited a spark that led to a deep immersion into the subject.

For thirty-one years I read every book and scholarly paper I could get my hands on. I fed hundreds of dimes into copy machines, took courses in anthropology, archaeology and primitive religion to name a few. I attended archaeological symposiums, corresponded with scholars and visited Maya museums and sites—all the while wondering why. I knew I didn’t want to make a scholarly contribution to the field. And I wasn’t particularly interested in making a documentary film about the Maya. So why was I devoting so much time, energy and money and building a series of image and information databases? The answer came on the night of August 2nd in 1998. Around midnight I had the idea for a series of stories. It came to me so clearly that I got up and wrote until eight in the morning. Long story short, that same day I told Linda I was going to learn how to write a novel. I didn’t entertain the prospect of publishing, I just wanted write the stories that came to me. Thus was born the idea for a series of novels entitled The Path Of The Jaguar. From the outset I was determined to make each story historically accurate, plausible and an immersive read.

Up until then I hadn’t realized that prolonged and focused study of history can result in an immersion into its times, people and places. As I read, I was easily transported into the mentality, lifestyles, rituals and environments of the ancient Maya. In order for the stories to carry the impact of direct experience, I needed a context that would justify a first person point of view. I found it in the theory of reincarnation. What if my narrator—not myself—had the capability of recalling past life experiences? And what if he or she was able to write them down in a continuous stream of detailed remembrances?

Each story is narrated by the same person recollecting the challenging and growthful experiences of three different lifetimes, male and female personalities, within the context and background of major events in Maya history. By combining historical characters, their perception of the cosmos and it’s representation in ritual, with the everyday lifestyles of commoners and tradesmen in a rich jungle environment dotted with scores of cities and villages, I hoped to immerse readers in the realities of Central America between 35 B.C.E. and 700 C.E. The series title derives from a convergence between a common phrase, “the path of the soul” and the significance of the jaguar in Maya mythology. The word “jaguar” in the title of the series and in the novels is a reference to the soul. The Maya called it ch’ulel. So in essence, the stories depict the journey of a single soul—the narrator—through three incarnations. Although there is a natural progression featuring soul initiations, the stories can stand alone.

Book One: Jaguar Rising: A novel of the Preclassic Maya 

It took me twelve years and fifteen drafts to complete this story. Currently I am revising it in order to reduce the extensive use of Maya vocabulary. (Readers were too often consulting the glossary). The revised edition will become available in the Fall of this year. If interested, I recommend waiting. I will post an announcement.

35 B.C.E. By this time Maya civilization was already flourishing in the jungles of Mexico, Belize and Guatemala. K’akich B’alam, “Fire Eyes Jaguar,” is a young man who, on the threshold of manhood, learns that the long-distance merchant who raised him is not his father. Rather, his blood father is the ruler of large city far to the south. While the youth’s prophecy at birth said he would “rule as a powerful warrior,” his heart is set on apprenticing to his uncles who are builders and painters. It’s a tug of war between the demands of society and his passion to paint murals. K’akich  engages this struggle at a time when charismatic rulers and innovators were building cities and giving form to their ideology in art, architecture and religious spectacle.

Book Two: Jaguar Wind And Waves: A novel of the Early Classic Maya

378 C.E. Lady Jaguar Claw, daughter of the Tikal ruler, fulfills her father’s promise to the lords of Teotihuacan by marrying one of their sons. Her husband of seven years has been chartered to deliver a prophecy and establish a new order throughout the lowland jungles with Tikal as his base of operations. Battered by wave upon wave of emotional turmoil created by her husband and his enforcer, Lady Jaguar descends into an abyss of depression and despair. Suffering from soul-loss, she looses herself. The light has gone out of her. She sits and stares out the doorway watching the rain. A shaman tries to help, but the smoke surrounding her heart, continuously fed by the fires of anger, bitterness and guilt resist treatment. Her birth prophecy foretold that she would battle a mighty demon amidst “powerful winds and waves.” This is the story of that battle and her rise from the abyss.

Book Three: Jaguar Sun: The journey of an Ancient Maya storyteller

695 C.E. It was a time when the nature of warfare changed dramatically in the jungle cities. Where before, rulers raided neighboring kingdoms to capture members of ruling families for blood sacrifice to sustain the sun god, they are now conducting large-scale raids and forced migrations to acquire men, women and children to bolster their armies and increase the labor force for building projects. A climate of fear has gripped the lowland cities. Seeking entertainment and distraction, people gather around storytellers in great numbers, eager for true and made-up stories about raids and valiant warriors. Seeing the faces of misery, fear and hopelessness in the places he visits, Raised Up Heron—an aspiring storyteller—presents stories intended to inspire hope, courage and self-determination. He attracts very few listeners. Surrounded by the clash of cities, the protagonist confronts battles that rage within. How could he draw crowds in the big cities like other storytellers? Is that even desirable? Must he be satisfied telling his kind of stories in the marketplaces of small villages? Could there be a rightful place for him? To answer these questions he must first discover his deeper identity and purpose.