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there is always something (why I shoot film)

There are maybe ten shots left on the roll. Outside the metro, a collection of pigeons sit on minuscule ledges above two old men. They talk as all old men do, with operatic waves of their hands, sour expressions, belly laughs, eventually scratching their chins as they stare off at nothing in particular. I am pretending to take pictures of something near them, then swing across when they are not looking to shoot a few frames. At one point I surrender to the afternoon and move on.

And now, the courtyard that leads to the film lab. A great old building rests here, a school of architecture where students mill around dressed in black sucking on cigarettes with giant portfolios tucked under their arms. A young man approaches me. I am ready to tell him I have no idea what he is saying, but he wants to know where the film lab is. I jut my chin, telling him the door is just beyond a few bushes. He nods his thanks.

There are screens set up in a jagged line, sheathed in filthy white plastic to …

on refrigerators


V's feet are slapping against the floor. I hear her before she bursts into the kitchen, a leaf of paper hanging from her hand.
"Papa. Papa. Look. Look." She howls.
The paint is still wet. It is a flurry of brown and blue, some red. My eyes jump wide. I clap my hands.
"Put it on the fridge!" I announce, and she does.
A smile, an expression of complete satisfaction presents itself. She runs out of the room, to do it all again.

This is what all of us want, I tell myself. To be appreciated. To have our work grace a wall. It seems so simple, but in an adult life - how often does this happen? How rare is this?

Then, I remember Jan Groover telling us to tape our latest photographs to the door of the refrigerator. "If you still like it after a week, then you have something." She added, a long thin cigarette dangling from her lip.



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