The Baldizzi family kitchen ~ Photo by Keiko Niwa
Josephine Baldizzi arrived in this country as a young girl from Sicily. Her family lived on New York’s Lower East Side from 1928 to 1935, their home a small tenement apartment at 97 Orchard Street.
During the Depression, there was no money for Christmas gifts or decorations, so her father, Adolfo, scavaged through their neighborhood for discarded pine branches from other peoples’ trees. Putting his carpentry skills to work, he drilled holes into a piece of plain board and then, using the branches he’d collected, created a Christmas tree for his family. Continue reading
In a world still characterized by four-digit telephone numbers, 78 rpm records, and vacuum tubes that had to be carried to the hardware store for testing when the radio or television wouldn’t work, my first camera fit right in.
A Christmas gift, it was a simple Kodak Brownie — perhaps the Brownie Holiday, but more probably the slightly newer Model 127. Of course it required film, carefully loaded into the camera one precious roll at a time. There were knobs to turn, holes to match with tiny, mechanical teeth, and a certain amount of ruined film that went along with the learning process, since childish excitement often meant forgetting the first rule listed in the Brownie 127 instruction manual: “Take the camera into the shade.” Continue reading
In a world filled with questions about the creative process, professional photographer and Creative Live founder Chase Jarvis has a few answers. In an intriguing blog entry titled “There are No Excuses,” Jarvis reveals his sensitivity to creative angst:
I’ve heard you say that there’s nothing to take a picture of. I’ve heard you say you don’t know what to make, when to make it, how to make it, what to do.
I’ve heard you say that you don’t know how to get your work “out there.” I’ve heard you say that you don’t know what to put on your blog. I’ve heard. I’ve heard. I’ve heard. And I promise you, I, too, have said all these things.
Then, he reminds his readers that such questions are rooted in an earlier time: a time when artists required permission from others for their work to be seen. Permission came in the form of being hired to shoot a news story, to write a magazine feature, or produce a graphic layout for a business.
Brazoria National Wildlife Refuge, February 2, 2017
After weeks of fruitless horizon-scanning and radar-consulting, the roiling smoke plume rising over the southwestern horizon seemed promising. Before long, I’d found confirmation: a scheduled burn at the Brazoria Wildlife Refuge was underway, and the section being burned would be accessible by road.
I’d been hoping to visit a native prairie after a prescribed burn, and my opportunity had arrived. The January 31 burn, carried out under the supervision of the Texas Mid-Coast fire crew on 515 acres of land, would be accessible via Hoskins Mound Road, my usual route to the Brazoria refuge.
When I arrived at the refuge on February 2, a portion of the world I’d known there appeared to have been obliterated.
There should have been no reason to cry.
In the house on the road to the Amite river, with memories of Verlinda Harrell’s ferry stirring in the breeze and the old Baton Rouge-Springfield road still leading down to the crossing, the pace of life was slow — easy and enjoyable.
Part of a world perfectly designed for childhood wandering, its Spanish moss-draped oaks invited climbing, and the tire dangling from its sturdy limb seemed to demand swinging. On cots arrayed across the screened-in sleeping porch, we dreamed our dreams on mattresses filled with moss in the sweet, magnolia scented air. Continue reading