Posing In Front Of Camera Quotes

We can never make proper goodbyes. It was your last ride in a Checker cab and you had no warning. It was the last time you were going to have Lake Tung Ting shrimp in that kinda shady Chinese restaurant and you had no idea. If you had known, perhaps you would have stepped behind the counter and shaken everyone's hand, pulled out the disposable camera and issued posing instructions. But you had no idea. There are unheralded tipping points, a certain number of times that we will unlock the front door of an apartment. At some point you were closer to the last time than you were to the first time, and you didn't even know it. You didn't know that each time you passed the threshold you were saying goodbye.

On the day all these photos were taken, none of the men, children, women who posed innocently in front of the camera could have thought that that moment would represent them for all eternity.

I flipped quickly through the pages as I waited—made my family a jerky, imperfect movie. It struck me that my mother had compiled mostly a book of her father, Thomas, and me. Others make appearances: Ray, Dessa, the Anthonys from across the street, the Tusia sisters from next door. But my grandfather, my brother, and I are the stars of my mother’s book. Ma herself, camera-shy and self-conscious about her cleft lip, appears only twice in the family album. In the first picture, she’s one of a line of dour-faced schoolchildren posed on the front step of St. Mary of Jesus Christ Grammar School. (A couple of years ago, the parish sold that dilapidated old schoolhouse to a developer from Massachusetts who converted it into apartments.

Grandma I’ve been writing in names that are missing, the ones I know, which is by no means all of them. That’s what happens, you see. First, there’s no need to write who they are, because everyone knows that’s Great-Aunt Sophia or Cousin Rudi, and then only some of us know, and already we’re asking, ‘Who’s that with Gertrude?’ and ‘I don’t remember this man with the little dog’, and you don’t realise how fast they’re disappearing from being remembered … Wilma It’s still an amazing thing to me, to know the faces of the dead! I can remember Grandpa Jakobovicz’s tobacco-stained whiskers, but his wife died giving birth to Poppa before there were photographs, so now no one knows what she looked like any more than if she’d been some kind of rumour. Grandma Everyone was mad to have a photograph when I was a girl, it was like a miracle and you had to go to a photographer’s to pose for him … wedding couples, soldiers in their first uniforms, children in front of painted scenery … and, always, women dressed up for the carnival ball, posing with a Greek pillar. Later, when we had a camera, there were too many pictures to keep in the album, holiday pictures with real scenery, swimming pictures, pictures of children in dirndl pinafores and lederhosen, like little Austrians. Here’s a couple waving goodbye from the train, but who are they? No idea! That’s why they’re waving goodbye. It’s like a second death, to lose your name in a family album.

As I became older, I was given many masks to wear. I could be a laborer laying railroad tracks across the continent, with long hair in a queue to be pulled by pranksters; a gardener trimming the shrubs while secretly planting a bomb; a saboteur before the day of infamy at Pearl Harbor, signaling the Imperial Fleet; a kamikaze pilot donning his headband somberly, screaming 'Banzai' on my way to my death; a peasant with a broad-brimmed straw hat in a rice paddy on the other side of the world, stooped over to toil in the water; an obedient servant in the parlor, a houseboy too dignified for my own good; a washerman in the basement laundry, removing stains using an ancient secret; a tyrant intent on imposing my despotism on the democratic world, opposed by the free and the brave; a party cadre alongside many others, all of us clad in coordinated Mao jackets; a sniper camouflaged in the trees of the jungle, training my gunsights on G.I. Joe; a child running with a body burning from napalm, captured in an unforgettable photo; an enemy shot in the head or slaughtered by the villageful; one of the grooms in a mass wedding of couples, having met my mate the day before through our cult leader; an orphan in the last airlift out of a collapsed capital, ready to be adopted into the good life; a black belt martial artist breaking cinderblocks with his head, in an advertisement for Ginsu brand knives with the slogan 'but wait--there's more' as the commercial segued to show another free gift; a chef serving up dog stew, a trick on the unsuspecting diner; a bad driver swerving into the next lane, exactly as could be expected; a horny exchange student here for a year, eager to date the blonde cheerleader; a tourist visiting, clicking away with his camera, posing my family in front of the monuments and statues; a ping pong champion, wearing white tube socks pulled up too high and batting the ball with a wicked spin; a violin prodigy impressing the audience at Carnegie Hall, before taking a polite bow; a teen computer scientist, ready to make millions on an initial public offering before the company stock crashes; a gangster in sunglasses and a tight suit, embroiled in a turf war with the Sicilian mob; an urban greengrocer selling lunch by the pound, rudely returning change over the counter to the black patrons; a businessman with a briefcase of cash bribing a congressman, a corrupting influence on the electoral process; a salaryman on my way to work, crammed into the commuter train and loyal to the company; a shady doctor, trained in a foreign tradition with anatomical diagrams of the human body mapping the flow of life energy through a multitude of colored points; a calculus graduate student with thick glasses and a bad haircut, serving as a teaching assistant with an incomprehensible accent, scribbling on the chalkboard; an automobile enthusiast who customizes an imported car with a supercharged engine and Japanese decals in the rear window, cruising the boulevard looking for a drag race; a illegal alien crowded into the cargo hold of a smuggler's ship, defying death only to crowd into a New York City tenement and work as a slave in a sweatshop. My mother and my girl cousins were Madame Butterfly from the mail order bride catalog, dying in their service to the masculinity of the West, and the dragon lady in a kimono, taking vengeance for her sisters. They became the television newscaster, look-alikes with their flawlessly permed hair. Through these indelible images, I grew up. But when I looked in the mirror, I could not believe my own reflection because it was not like what I saw around me. Over the years, the world opened up. It has become a dizzying kaleidoscope of cultural fragments, arranged and rearranged without plan or order.

In 1972, Sara Kapp had been living for some time at Karmê Chöling without daring to ask to speak to Chögyam Trungpa. But when a New York modeling agency wanted to sign her as a model, she decided to ask his advice. Posing in front of the camera all day did not seem appropriate for someone who was trying to cut through her ego. Chögyam Trungpa asked her why she wanted to become a model. She explained how she had experienced some difficulty in sticking to any one thing after finishing college. So she thought that maybe picking out something for a few years might be beneficial. If that is the reason, he replied, then there’s no problem. He encouraged her to follow her career, and as she continued to hesitate, he told her: “The only obstacle I can see is if you do this work hoping to earn lots of money or to be on the cover of Vogue. That would be sad, because you’d be losing youself in the future. It’s a real shame when people regret not having enough money, or having missed a career opportunity, because they are then fixing themselves in the past. It’s very, very sad.” Then staring into her eyes, he repeated: “It’s very, very, very sad because that way we miss out on the present, and the present is marvelous.” She went on to become one of the best-known runway models of her day. For a period of time, one could find mannequins of Sara Kapp in Saks and other epxensive department stores throughout the United States. Her last major modeling contract was as the first Princes Borghese for Revlon. She now works behind the scenes in the fashion industry in Milan.

At Northwest Orient, one early idea was to stage a photo with a group of Crow Indians. In front of a Northwest plane, the Indians wore headdresses and moccasins and posed for the camera stone-faced and bare-chested. “If the Indians aren’t afraid of the white man’s bird, nobody else should be,” a Northwest pilot said.

The photograph had to be reasonably interesting. Country Life girls did not simply sit for the camera against some featureless backdrop but were pictured striking a pose in surroundings that gave an indication of their normal social milieu or talents. The daughters of major gentry—those with stately homes—might be photographed leaning against a stone pillar, the clear inference being that this was just one of the many stone pillars owned by her father; those who had no stone pillars but who had, say, a small ornamental lake, would be photographed standing in front of this. Those who worked with horses—and this was a large group—might have a hunter in the background, or at least a saddle. Dogs were a popular accoutrement, usually Labradors, who would be at the young woman’s side, ready to retrieve or flush birds, enthusiasts all, and given the same appraising scrutiny by the readers, in many cases, as the young woman herself.

Still, they were clearly at ease in front of the camera. They behaved as if they were professionals, that was a function of the age we lived in, people took photographs of themselves all day long, in every act and situation, eating their breakfast, sitting on the train, standing in front of the mirror. The effect was not a new candidness or verisimilitude to the photographs that proliferated—on our phones, computers, on the Internet—but rather the opposite: the artifice of photography had infiltrated our daily lives. We pose all the time, even when we are not being photographed at all.

The thing about taking someone’s photograph is to get them not to think about the fact that I’m taking their photograph. People stiffen up in front of a camera. It’s human nature. They think they’re supposed to pose, and suddenly they’re not who they really are. So the photographer has to devise a way to catch them in a moment when they . . . I suppose you’d say in a moment when they reveal themselves. Every photographer has to do this.

Jadaan, he could be unpredictable. The producers were worried Valentino would get tossed, so he mostly rode other horses for the film. Valentino was furious and insulted.” He pursed his lips. “They were idiots, those producers; Valentino could ride.” Hosteen fell silent, and Anna tried to think of a question to get him going again. Before she did, he said, “That Jadaan. He had terrible front legs. But he was as good as Valentino himself at striking a pose. Cameras loved him.