Day by Day, by Denise Ruttan

You have thought about death a lot lately.

Not in the same way that you used to think about death, as if it were an existential threat. Those times that you do not tell anyone about when you would sit in traffic waiting for the red light to change to green and you think about what it would be like to be involved in a car accident and you want, for a brief moment of absolute and startling clarity, to die. You blink. You have never thought this before. (Maybe you should see a counselor, you consider in a moment of panic.) You wonder if you would feel pain. You wonder which of your friends and family would come to your funeral. You wonder which songs your family would choose to play at your funeral and who would provide the eulogy; if they would organize a religious service, or a secular one.

You’ve never been particularly religious, but you like to think of yourself as a spiritual person. Sometimes, however, you think God is dead and magic is just for fairy stories. You wonder if you would go to heaven. You wonder if there is an afterlife. You think that you would still keep going day after day even if there is no afterlife, because the alternative is ashes and rot and dust motes swirling in the sun. Then the light changes to green, and someone honks at you from the car behind, and you step on the gas and the car lurches forward and you forget about the moment when you wanted to die. What a silly thought. You like your life.

Those were the Times Before. The times when you could brush against someone in a public space and not feel your heart climb into your throat and squeeze like someone had their fingers wrapped around your larynx.

Now you think about death in a different way.

You think about your mother. If your mother is not alive you think about her when she was alive. If you are estranged from your mother you think about someone else who plays that role in your life. You think about your mother on a ventilator and nurses in their scrubs and their sheer plastic visors and their hodgepodge makeshift masks like something out of a sci-fi movie. You think about your mother dying alone. You wonder if your mother picked up COVID-19 when she was out on a walk in her neighborhood and she says she stayed six feet away from everyone but maybe she touched the button to go across a crosswalk because she didn’t want to jaywalk but that button has been pushed by hundreds of people and the virus can live on surfaces for 72 hours.

The virus is like a living, breathing thing, an alien, an invasion, a menace, a parasite. Are they bacteria? You don’t think so. You don’t think the yeast in the sourdough culture you are starting because you are bored is bacteria, either, but you can’t be sure. You didn’t pay that close attention to that part of biology class in high school. All you know is that viruses spread. You think about death and sourdough bread in the same thought because that is what your brain does when you are alone for a period of time.

You don’t want to think about your mother dying. You don’t want to think about anyone dying. So you tell yourself it is just like the flu. Only a 3 percent death rate. Nothing, really. Only high-risk groups need to worry about it. Why do you need to stay inside, cooped up like a prisoner, afraid of your own shadow? You want a haircut. You want a hot meal at a restaurant and you want an iced tea on a summers’ day and you want to make small talk with a server even if you can’t stand small talk. You want to talk about the weather with someone you don’t know. “Hey, man, what are you up to today?” they would say, back in the Times Before.

Before, you would mumble something nonsensical to get out of the conversation and mold your face into the impassive look of someone who does not want to talk. Or you would be chatty and tell them a lie. Just like when people would ask you “How are you?” And you would say you were fine but not really mean it. No one wants to hear that you are anything but happy every day of your life. Now you want to be fine. You want to be fine so badly it feels like when you were 12 and wanted a puppy, a real live one, with all your heart, and your parents got you a stuffed dog instead and you were so disappointed you put it in your closet and didn’t look at it for a year.

Now it is a 6 percent death rate, or is it? You can’t keep track anymore. But you thought about your mom dying alone and you feel bad so you want to see her for Mother’s Day because you haven’t seen her in two months and you stand six feet apart from her and you think this is okay, you’re doing okay, you’re keeping each other safe. You wash your hands and you wear your mask even though you can’t breathe but you just really wanted to see her.

You watch the President on TV. Maybe you voted for him and you will vote for him again no matter what anyone says about him. Maybe you think he looks like a Cheeto-head and the image of him on your TV screen makes you want to vomit in your mouth. Maybe you wonder if our country will always be so divided. Maybe you blame other people, like the President. Maybe you remember marching in the Women’s March in a small town and everybody was crying and angry and there were Pussy Hats and you wanted so badly to believe then that things would get better, that things would be okay, that things couldn’t possibly get any worse. You watch him struggle with empathy, incapable of it even, and never mention death or the dying or dead people because it will make him look bad and you think maybe, maybe I can give him a little empathy, he is so in love with his own image and his ego that he cannot bring himself to grieve for the dead, and maybe there is a part of you filled with rage and grief that wants him to get it too, that wants him to know what it is like to suffer. Part of you is not ashamed for feeling that way because he is not ashamed. He never admits responsibility, never confesses his mistakes, he is never wrong. You do not want a president who is never wrong. People die when a leader is never wrong.

Then you wonder will the people who voted for him and the people who hate him ever see eye to eye on anything? They are breathing the same air to which the virus clings and the virus does not care about one’s politics or about how one feels about masks or who anyone voted for. The virus is a parasite. It just wants a host.

You wonder how many people have to die for people to take this seriously.

You wonder if perhaps people are overreacting and it’s not really so bad and you just really want to see a movie again and you miss concerts and the gym and popping over to the store when you wanted M&M’s. You miss touching things without wiping them down.

You wonder, maybe death just comes to us all and death is a part of life and we have to sacrifice a few for the many so the economy can reopen. It can’t be like this forever. People losing their jobs and their homes and the long lines snaking around streets leading to the food bank and the cloying desperation and the sad piano music in the TV commercials. You saw a TV commercial the other day in which people hugged and nobody was wearing masks and the music was peppy and they were talking about supporting small businesses. It was so bizarre to you that you felt sick. To see people hugging. You want to support small businesses but you don’t want to die. It is the uncertainty that clings to your skin like water droplets after you emerge from the pool from a long swim. You remember swimming pools. You miss swimming.

You want to go out but every time you go to the store, much less often now, there is always someone who doesn’t care, someone not wearing a mask, someone oblivious to spatial awareness who brushes against you as if with sheer belligerence in their denial of reality. It is just like H1N1, they say, were you affected by the swine flu personally? Freedom is an uncertain thing, the shape of feathers and dust, full of responsibility and thrift and also carefree joy, a small Japanese car racing in the street with its engine sounding like a rocket. You imagine most people would waste it, take it for granted. It is those people who make your heart thump in your chest hotly and angry sweat run down your armpits. It is those people you think about when you lie awake in bed at night when it is hot and muggy outside and the fan is clacking away and the neighbors next door are playing a video game and their children are yelling and you think about those people who don’t care about your mother dying alone. “Excuse me, I just needed the milk.” You try to have empathy for them because all you can control is your thoughts but you think your reserves for empathy are running so low these days. So low. Kindness shouldn’t be so difficult. You remember when kindness was easy, like relieving a stranger of the burden of how you’re really feeling when they want to know how you’re doing.

But you go on because you have to. You go on because you care about someone’s mother whom you don’t even know. You go on and on even though it feels like you can’t any more and your heart is crushing you and is that shortness of breath anxiety or COVID-19? You bake cakes and sourdough bread and drink too much alcohol at noon and you try out sobriety and you do yoga and you Zoom with your friends and you feel an overwhelming sense of despair but you keep going moment by moment because you have to.

Not because you are thinking about that moment at the stop light when you once thought about what it would be like to die.

But because you want to live.

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A few tips to take better photos from just your phone camera

Many people have more time on their hands now and want to learn new skills. Perhaps this is you and you’d like to improve your photography knowledge. Contrary to popular belief, you don’t need an expensive camera to take good photographs; you just need a basic understanding of light and composition. A camera is just a tool, after all; and the best tool is the one you have with you.

Sure, you probably won’t be charging $200 an hour for a professional photo shoot on your iPhone. But these cameras have come a long way in recent years and are miles ahead of the point and shoots of even just a few years ago. I am an experienced photographer with six years shooting portraits and street photography, and time before that as a photojournalist. I thought I’d offer some photography 101 tips for you to shoot better camera phone photos. All these photos on this blog post I shot with my iPhone 6s. In fact, I have been shooting more with that camera than my Nikon D5100 recently. It’s more convenient, and less obtrusive.

Light

First, let’s talk about light. Why do your photos taken outside at noon on a summer’s day always appear hot and full of contrasts? It’s because of the height of the sun in the sky and what that does to light. Let’s talk about something called an exposure triangle. Even on a phone camera, you can practice these principles.

The exposure triangle is a photography term that refers to the aperture (the opening in the lens through which light passes to enter the camera), shutter speed, and ISO (aka the sensitivity of the camera’s image sensor). All these things must work together in order to create a correct exposure – one that is in focus, and not overexposed (the photo has too much light and is too bright) nor underexposed (too little light was recorded and the photo appears dark). Now, “correct” exposure is one of those rules that can be broken for effect, but only until you understand how they work and why they are important.

Now, you can’t manually control the shutter speed, ISO, or the aperture on a phone camera. That is the beauty of a DSLR, or a digital single-lens reflex camera. But a phone camera is a cheaper alternative, and one that you likely already have with you; who doesn’t have a smart phone these days? (I see you, flip phone and landline aficionados!)

On a phone camera, it is more about controlling your external circumstances in order to take a better photo. For example, you can control how much light enters the lens by shooting at different times of day. You can control the shutter speed to a certain extent by waiting until your subject is in focus before snapping the photo. You can understand that certain kinds of action sequences will never capture well with the limitations of a cell phone, no matter how advanced the technology.

Golden Hour

One of the foremost principles in photography is understanding which times of day provide the best photography light. “Golden Hour” is a term that is used to refer to an hour after sunrise or an hour before sunset. Daylight is softer at this hour, without the sharp shadows of when the sun is higher in the sky. You can take some truly amazing natural light photographs only by sticking to this magic hour.

Try it with your selfies. Some of the best light in any house or studio is shot through a window. See where the direction of the sun is in comparison to the windows in your house (and I dearly hope you have windows). The window, especially if it has a curtain, often acts as a kind of a softbox for the light outside, softening it still further. Run a light capturing experiment. Take photos from the best-lit part of your house at different times of day. Try golden hour. Try high noon. Take photos of all different angles; pointing away from the window, toward the window, and spin around in a circle. (Just don’t take blurry selfies!) Record what times of day at which each photo was shot at. Even better if your window faces the sun from the south.

If you try this experiment of mine, feel free to share your photos and use the hashtag #spaceshipselfietest. I would love to see your results.

Composition

The final principle to talk about is something called “composition.” This word has so many different meanings in art. In music, it is a score of notes that are arranged in such a way as to form a symphony. In photography, composition too is an arrangement of parts.

Composition has different elements. For example: How do you deal with textures, shapes and patterns? We call them “leading lines” — when you capture the symmetry of lines in such a way that the eye naturally follows them in a pleasingly framed way. What’s the subject of the photograph and how do you position it in the frame? Do you have a cluttered background, or a clean background? How does the clutter in the background serve the story of the photograph? Since a photograph is a manufactured story, how we manufacture the elements of the story must make sense.

There’s also depth of field. This is to say, the distance between the nearest and the farthest elements of a scene, that provide context to the setting. Your camera will only be able to focus sharply on one object out of many in the scene, so how do you show distance, texture, depth? That is partly the artist’s choice. Sometimes you will see other elements in the photograph blurry around the focal point to show that depth.

You can draw inspiration from paintings, drawings and illustrations. A lot of people diss on photography because they don’t think it’s artistic. Anyone can do it because it is so accessible. So it is often seen as a “lesser than” art. It doesn’t take much of an eye to take a photograph. Or does it? Your “eye” as they call it in photography is what makes the photograph art.

Thus we come to the principle of the “Rule of Thirds.” This is another one of those “rules” that you must understand well in order to break it well. You can tell a novice because they immediately scoff at this concept and will break this rule poorly. One must master these basics in order to make a more sophisticated rendition of them.

The rule of thirds is a compositional element in which the image is broken up into three parts, both horizontally and vertically. The subject of the image is placed where those “leading lines” connect. This composition is pleasing to the human brain. We want to know where we should focus our attention. Try it. Try placing the subject of your image at the center of the frame, off to the left, off to the right. You can even do this with your selfies. See how differently your perception of the image changes.

Conclusion

So with a little understanding of the limitations of your device, a perception of light, and an idea of how to look in order to compose an image, you too can create better photographs, even with a smart phone. The elegance of this instrument is that you can take 1,000 photographs and delete them all if they suck. But try taking your cell phone photographs with a little more intention behind them, and watch how they will change and improve.

Good luck, and as they say in photography, just go shoot, already!

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