As I mentioned in a recent photo-centric post, I love taking pictures of kids I meet in my world travels. That’s because, I wrote, “They’re eager, giddy and attention-hungry, all the while laughing and bursting with curiosity, asking questions (‘Where you from?’) and grabbing at the camera with often sticky hands.”
I’ve taken plenty of pictures of Istanbul’s children, a panoply of poses, pouts and play.
Sometimes they’re happy, eager subjects:
Sometimes they’re playful:
Sometimes they’re artfully posed:
And sometimes they’re fledgling rebels, with a wee message for the dope with a camera:
This rapscallion is my kind of kid. There I am, popping my head out of my second-floor hotel room, presumptuously pointing the camera, and getting what I deserve — a little birdie telling me to go fly away, to take a flying f***. Brilliant.
Confessions of a caveman: I’ve only been using my iPhone as a full-fledged camera for the past five years. Moreover: I’ve only had a mobile phone since 2010. Before that: strictly land lines. Living in the Pleistocene epoch is terrifically underrated.
I never thought I’d need a cell phone (raucous laughter), especially one with a camera. Since 2006, I’ve owned a perfectly snazzy, distressingly pricey digital camera, the Panasonic Lumix DMC-LX2, acquired for my world travels.
With its professional Leica lens — as thick and round as a small stack of poker chips, not one of those budget pinholes — the camera separates itself from most Best Buy point-and-shoots. It also boasts manual capabilities, a 4x optical zoom, 10.2 megapixels and a 16:9 widescreen, among other visual gymnastics. It fits in my palm. It’s a good camera.
On a whim, I recently took the Lumix out of storage — that’s how resoundingly my iPhone camera had dethroned the fancier shooter: it was in storage. I had an itch to take more pro-grade photos and reacquaint myself with my trusty travel companion and its battery of bells and whistles.
Before I knew it, I was the greedy shutterbug I once was, seeking beauty and the bizarre, fascinating faces, stunning architecture, and getting in the crouch-and-shoot stance demanded of dogs and children.
First, I made portraiture of Cubby, a study in nappy nobility:
The cat, sleek and skittish, was next:
Outside I snapped this, whose boldface signage is probably telling me something:
Now some iPhone shots, taken in Tokyo, Paris and Istanbul:
OK, so the little Queen of Hearts-sized iPhone appears to beat the pants off the Lumix in this demonstration. And my phone is ancient — a good five years old, perhaps a model 7. But the comparison isn’t quite fair. I’ve walked about six blocks over a few days with the Lumix taking pictures, while I traveled many years and thousands of miles with the iPhone, capturing exotic, iconic locations. Of course I have a similar stash of fine Lumix photos snapped in Japan, India, Texas and beyond, like these shots taken in Nepal, Beirut and Turkey, respectively:
There’s really no contest. Both contraptions take quality pictures. I prefer the Lumix as my main device — it feels like a real camera, for one. iPhones do not. They feel like Kit Kats. I find them unwieldy, tricky to aim, and the shoot button elusive and unreliable. Still, they produce knockout shots that get increasingly superior with each new model. And they handily fit in your pants pockets.
The Lumix, comparatively, is a Land Rover to the iPhone’s Prius. But it’s not all that bulky. Like I said, I can grasp it in one palm and jam it in a coat pocket like a pack of cigarettes. It’s eminently portable.
I’ll keep using both shooters for different occasions, the iPhone when I’m traveling ultra-light, the Lumix when I have more room and want more pictorial effects. Not sure which one wins, but it appears the race between cameras is the very picture of a photo finish.
Look at that, I think, watching citizens on the street interviewed on the nightly news. So composed, so poised, so extemporaneously eloquent, fluid and alive, all with a thrusting camera and flood lights in their makeup-free faces, knowing this is a one-shot performance for the big TV show, posterity even. How do they do it?
Me, no. Cameras are my kryptonite. I am so camera shy, from still photos to shaky video, that even in these starved, socially distanced times, I will not do FaceTime or Zoom with even my coolest pals. They know this, so they don’t try much. No. They never try.
I’m ruthless: The last time my own mother tried to FaceTime me — on my birthday — I declined her three times. After that, we had a brittle phone chat. It was a short call.
Cameras are performative devices; they make you assume an artificial skin. I personally find this embarrassing and uncomfortable, and it’s not just because I dislike seeing my own image, although I certainly do. Hammy poses, coerced smiles and theatrical displays of affection — it’s all so plastic and painful. Every time my picture is taken, I feel like I’ve sold my soul to Lucifer. And he wants a refund.
I used to be quite photogenic, if I may say so. I do not believe this anymore. And so, amid group shots in particular, I try to hide as much as possible. My resulting image is invariably spectral — that of a Native American spirit hovering with ritual solemnity in the background, very displeased with my historical lot.
I’m a wuss. Not only do I shun pictures, I dread public speaking, including toasts, and prefer to interview others instead of being interrogated.
Of many offers to be interviewed on television and radio for my last job, I made only two exceptions. I was so fumbly and fidgety when I appeared on TV that I can hardly even remember the incident, except that I hated it. Seeking a segment for “This American Life,” NPR guru Ira Glass interviewed me from New York. Naturally, I choked with nerves.
Traveling alone, I used to snap selfies for the visual record. I have a lot of those and they’re not bad. Even my distorted self-image can’t ruin all of them. But I don’t do that so much now, yet I have, in these Covid climes, surrendered to FaceTime for the occasional doctor appointment and such. I don’t like what I see. Not one bit.
So how do those regular folks on the news get so natural and comfortable and chatty, besieged by lights and cameras on live TV? I’d dash if a camera crew approached me.
If they indeed snared me, I’d gleam with flop sweat and stammer like a fourth-grader giving a book report. I’d botch the take and wind up on the cutting room floor. Then I’d shamble off, relieved, yet again, that the camera didn’t get me.
With a camera trained at butthole level, the street dogs of Istanbul bustle across the city, romp in parks, negotiate congested thoroughfares, brawl, chase cats, gambol, loiter and partake in public humping.
This is a day in the life of the Turkish city’s derelict dogs in the patient, panting documentary “Stray,” released today. The film is a quiet, lolling chronicle of both canine and human behavior — the mutual respect and tolerance is moving — done minus narration. With few dramatic accents, though alive with built-in pathos, “Stray” is almost uninflected — unvarnished life through a studiously objective lens. What is spoken comes from the pups’ playful pantomime.
I’m on good terms with the stray dogs of Istanbul, having befriended, pet and fed several during my four trips to Turkey. The hounds are plentiful in the rolling, seaside city and are protected under a no-kill, no-capture policy. Each dog is registered, one of their ears pierced with an official tag. One of my favorite canine pals wore a red tag on her floppy left ear, leading me, with a poverty of imagination, to call her Red Tag.
They get you like that, these streetwise mongrels. Locals are mostly kind to the wandering, well-behaved dogs, leaving out bones and food and, when annoyed by them, gently shooing them away from storefronts and doorways. It helps if you have a soft spot for animals. My mushy affection led me to feed and pamper the friendly hounds, which I happily photographed. More than just memories, the animals were also sweet, licky mood-enhancers, a pack of therapy pups just for me.
Here’s where to watch “Stray,” and here are some of my street-dog snapshots.
This post might better be called “Turkey’s tots and tweens,” as it’s really a mix of youths I took snapshots of as I got lost in the serpentine streets of Istanbul. In my travels kids are hands down the most fun to photograph. They’re eager, giddy and attention-hungry, all the while laughing and bursting with curiosity, asking questions (“Where you from?”) and grabbing at the camera with often sticky hands. Below are just a few of those characters, ebullience, boogers and all.
In my first semester of college, Marlon Brando blew open my bitty blinkered brain.
I was 18 and watching the actor at a small on-campus screening of “A Streetcar Named Desire,” Elia Kazan’s 1951 film of Tennessee Williams’ torrid fever dream of a play. I was mesmerized, disturbed, rattled.
Who is this guy? I wondered. What is this guy?
I had seen Brando in “The Godfather” and “Apocalypse Now” on VHS, but this was different. This was the young, bristling Method actor, a radical of modern performance, searing the screen with unseen naturalism — a combustible churn of physical and psychological muscle, animal charisma, brute sexuality and roiling menace.
He was a new kind of screen male. He hollered and knocked things over. He was sensitive, a raw nerve. He was scary, feral. He was gorgeous. He was hideous. He was fantastic.
This, I thought, is what college is about: revelation, learning, getting gobsmacked by the greats. All at once, in that Brando bombshell, was a liberating feast of ideas and culture. The very next day, I borrowed a Brando biography from the library. I craved more.
A curious kid at a university in a wildly diverse, culturally rich city, I gulped it all, from Hong Kong action flicks to Zippy the Pinhead comics. In a city of famed seismic activity — yes, San Francisco — Brando was one of the first icons to rock my late-teen world.
He wasn’t alone. Other cultural forces who uncorked my brain included, in no order: Beethoven; Sartre; the Marx Brothers; Shakespeare; Freud; Stanley Kubrick; the Beatles (I’d always known their music; I just didn’t know their music); Orson Welles; Buddha; Nietzsche; John Waters; Dalí; Bogart; Buñuel; Kafka; the Ramones; Fellini; Charlie Chaplin; New Yorker film critic Pauline Kael.
(Woke alert: I realize there is only one woman and, save for Buddha, exclusively white people on the list. This is just before I fell for Toni Morrison, García Márquez, Miles Davis and all the rest. As it’s the past, there’s very little I can do to remedy the situation.)
I adored my school. It was an institution that showed scant regard for sports and frats. (I sort of felt sorry for our neglected little football team, but not really.) It was the kind of liberal arts college where August Coppola — brother of Francis Ford Coppola and father of Nicolas Cage — was Dean of Creative Arts and the city newspaper’s erudite pop critic taught my History of Rock ’n’ Roll course.
Protests were big — pro-Palestine, anti-apartheid. The Red Hot Chili Peppers played the stamp-sized Student Union for five bucks a head. Director Sydney Pollack gave a seminar on filmmaking. Free movie screenings abounded. You barely needed class when almost everything around you was an education.
Take the campus library: nerdy, for sure, but a free, all-you-can-eat buffet of intellectual stimulation. There I’d watch esoteric documentaries, listen to concertos and symphonies and pore over rare books. It was all part of this teen’s great game of cultural catch-up.
And isn’t that what college is, a way to get young minds up to speed on the world, culture, history, life? It’s about my freshman geography professor dismissing the Bible as a book of fairy tales and the above rock history teacher expounding on the lush productions of Phil Spector, Fleetwood Mac’s “Rumours” and Springsteen’s “Born in the USA.”
It’s about watching bad improv groups perform in the dorms and serving as Opinion Editor on the fiery campus newspaper. It’s about eating falafel for the first time and meeting Allen Ginsberg at a reading of “Howl” at City Lights bookstore.
College as entrée to life’s rich pageant, untrammeled exposure — that’s how I took it. There were city museums and concert halls — at 19, I got a student subscription to the San Francisco Symphony — the Haight-Ashbury, its own mad cultural-historical corridor; movie theaters like the Castro, Red Vic and Roxie; plays at ACT and the Magic Theatre. Not to mention the cultural cornucopia awaiting just over the bridge in Berkeley.
I got my first good camera as a freshman, styling myself a shutterbug about town, a wee, wannabe Weegee. I got deeper into my drums, soaking up sophisticated masters like Steve Gadd and Terry Bozzio, learning to kick things up while toning them down.
It was all about finesse, those early college days, about forging newly freed passions into a prismatic worldview that made sense to me. And it began with a revelatory sensation that was balled-up in the raw, sweaty brio of Marlon Brando.
Not for a moment has that novel feeling stopped. Once launched on the journey of discovery, you’re pretty much stuck. College lit a fuse; the explosions keep on popping.
In my time as a film critic, I often brought along my own pocket camera to interviews with celebrities, either because I wanted to or the newsroom was simply understaffed that day. I was recently sifting through some of the resulting photos — glorified snapshots, really — and plucked a few that don’t totally suck. You might recognize some of these distinguished folks.
Hagia Sophia is one of my favorite structures in the world. A chunky, imposing cathedral-turned-mosque-turned-public-museum, flanked with four rocket-like minarets, a bulky beacon doused in faded hues of pink and salmon, the famous building shares the same lush Istanbul peninsula as the nearly-as-glorious Blue Mosque. Almost amazingly, the edifices sit directly across a palm-lined park from each other, a spiritual and architectural bonanza.
So it’s with slack-jawed dismay that I read this about the treasure in today’s newspaper:
“President Recep Tayyip Erdogan issued a decree ordering Hagia Sophia to be opened for Muslim prayers, an action likely to provoke international furor around a World Heritage Site cherished by Christians and Muslims alike for its religious significance, stunning structure and as a symbol of conquest.
“The presidential decree came minutes after a Turkish court announced that it had revoked Hagia Sophia’s status as a museum, which for the last 80 years had made it a monument of relative harmony and a symbol of the secularism that was part of the foundation of the modern Turkish state.”
Erdogan, on an Islamist tear, is, like another aspiring authoritarian, a crackpot. And today’s move on Hagia Sophia is culturally criminal.
More from the article:
“Built in the sixth century as a cathedral, Hagia Sophia stands as the greatest example of Byzantine Christian architecture in the world. But it has been a source of Christian-Muslim rivalry, having stood at the center of Christendom for nearly a millennium and then, after being conquered, of the Muslim Ottoman Empire, when it was last used as a mosque.”
Below are some of my photographic memories of the holy site, aka Ayasofya, where you can see the exotic marriage of Islam and Christianity, including walls of crumbled majesty, their layers peeled back to reveal vibrant Christian frescoes and mosaics from 537 AD, as well as gigantic round panels emblazoned with Arabic script perched from atop the basilica. For years, it was the world’s largest interior space. It is spellbinding.
This is Cubby, über-hound, chillaxing on the cool wood floor on a balmy late-spring day. Sprawled out in sharp symmetry, almost X-shaped, he looks like a doggie cookie-cutter, or the puppy piece in Monopoly, or a pendant dangling from the neck of a dog lover of strenuous devotion. In a word, he looks amazing. Like an artwork Jeff Koons could only dream of, or a taxidermist’s dampest fantasy. He would look stunning on a mantel, a small, regal canine, with a muzzle oh-so fluffily bearded.
Cubby knows none of this. If he had heard the above during his spread-out siesta, he’d be all, “Enough. Leave me alone. I am napping on the cool floor, dreaming of squirrels, fire hydrants, and fat kielbasas. You are a ridiculous man. Be gone … zzzzz.”
What we have here is a tableau titled, say, “Dog Day Afternoon.” Or “Dog Splayed Afternoon.” Some kind of post-modern still-life William Wegman could appreciate in all its unposed dogitude. (Although, of course, Wegman meticulously poses his long-suffering Weimaraners, what with their fancy clothes and anthropomorphic exertions.)
So what we have is less Wegman and more found art. Cubby, surely warm under that carpet of curls, located open range in the cool foyer, plopped down and stretched out from his head to his pom-pom tail. He exhaled and sighed: Goddam.
And this is how we found him, still as a statue, a statue of such accidental perfection it might be worth lots of money. Certainly, because his preternatural pose notwithstanding, Cubby, that cuddliest of canines, is worth a million bucks.
The giggly, beatific smile on a bedraggled beggar girl on the steps of the Jama Masjid Mosque in Old Delhi. Three eager children bounding up to their cow for an impromptu snapshot in the backstreets of New Delhi. A red-eyed, dye-smudged wise man looking meaningfully into the distance in Udaipur.
They’re but a few of the images I snapped some years ago while traipsing about northern India, including Old and New Delhi, Agra, Jaipur and Udaipur. During the long days of corona cocooning, I recently flipped through travel albums and found a theme: wondrous, troubled India — and its magnificent people, so kind, polite, funny and alive. These are some I met: