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  <url>
    <loc>https://www.fhbimagery.com/forms-of-flight</loc>
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      <image:title>Forms of Flight</image:title>
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      <image:title>Forms of Flight</image:title>
      <image:caption>Beyond Long Island the Atlantic waits and beckons: this is the last look before travelers pass out into where there is nothing beneath but ocean. Mid Atlantic, Above Pitch dark. You look out through the glass, where a light, bright neon red, silently flashes on and off on the wingtip, prettily; then into a huge arena of grey clouds that make you feel as if you’re on the boards of an immense and empty, just uncurtained stage. Above the bright half-moon, then down below the landscape of tossing clouds that mimes a sea: and here above these (say 10 stairwells down) watching, you see nothing—but then, suddenly, lights come streaking trailing their colors, and resolve into one sharp and brilliant frame, etched in detail, freeze, and then shoot past. Their afterimage burns into your eyes. Against the mass of cloud, that cigar-shaped pod with light shafts streaming out its sides, within which rows of people, just like in yours erect in hull-bolted chairs tap their keyboards, or read, or sleep, or gaze out on the deep with eyes that wander about and then snap back. What holds you up? What protects you packed together all too closely for your comfort from the nothingness all around you as you streak your way at thirty plus some thousand feet— 400 people hanging on a thread over what you used to call the pond, but which now is sheer immensity, unknown.  </image:caption>
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      <image:title>Forms of Flight</image:title>
      <image:caption>Are we someone in the plane (the tiny speck on the upper right)—someone one in the plane flying west into this remarkable sunset, headed toward new possibilities, experiences and insights—and also perhaps new loves, new beliefs, and even new selfhoods: is this the person we identify with? Or are we someone on the ground, watching, feeling the tug of the plane strain against the tug of home, feeling a longing to cast off all bonds, unwrap all the tentacles of the people and places that hold them, and be up there, in freedom, with the others who have no such obligations? Or are we someone with face pasted against the jet’s window, looking down on the rolling hills already so estranged, and feeling the nostalgic pain of having to leave everything loved behind and dreading already the hotels and motels ahead, the rooms with the inevitable tv’s and the double beds, and the half fridges that hold no nourishing food but only tiny bottles of kinds of booze one is alas tempted by? Are we someone who should feel (looking at this photograph) excitement, or longing, or is it regret? Or is it, on the other hand, should we be feeling something more nuanced, something like . . . . II</image:caption>
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      <image:title>Forms of Flight</image:title>
      <image:caption>The Ship’s Successful Touchdown in the Woods</image:caption>
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      <image:title>Forms of Flight</image:title>
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      <image:title>Forms of Flight - Make it stand out</image:title>
      <image:caption>Groundswell At Night</image:caption>
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      <image:caption>Daylight view of the ship, now cleverly disguised as a fallen log</image:caption>
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    <lastmod>2023-04-23</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e8b82eddd10df303e0004ed/1589556045809-D58A0DUO84FQR6SQ4BRV/MM+Corner+2.jpg</image:loc>
      <image:title>Time Off</image:title>
      <image:caption>In this shot, the action does begin. In a cleared space, center stage rear left, an irreversible event (one that somehow promises to change everything?) is poised itself to happen. The drama must be about a parting, one that has unforseen consequences.</image:caption>
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      <image:title>Time Off</image:title>
      <image:caption>The consequences have occurred, and they have been terrible and irreversible. But true to the spirit of Greek plays, the scene of suffering has occured offstage. Conventionally, it would be reported to the chorus of loungers and the audience by a messenger. Writing this caption, I am the messenger. Consider this message to be about the divinely-sanctioned fury of loss that engulfs, with pity and terror, the two now unhappy and doubtless protagonists, whose apparently routine parting for just a few days instead was the occasion for a dark crack to open up in each of them, shattering all their assumptions about reality. In this last picture, that awful reversal is over, and forgetfulness has swallowed all remembrance of the two. And the crowd again takes over the stage with the thoughtless, but perhaps blessed normality of another lazy warm day, and the flow begins again, for whatever was done is done and has been completely forgotten. But for one detail: is it a bitter irony? Or is it a message of hope? Where the fatal couple once parted, now a younger, more ordinary pair who clearly are (for now) partners push their pram heavy with future and hope off the curb, and into the now only subtly parlous commerce of the street.</image:caption>
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      <image:title>Time Off</image:title>
      <image:caption>Between their birth and their butchering, sheep hang out in the timeless afternoon sunlight.</image:caption>
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      <image:title>Time Off</image:title>
      <image:caption>A waterfall in New York’s Finger Lakes attracts a small group of unrelated people. These include several random dogs and their owner (with the greying beard); and a little girl who scrunches her bottom off the wall in a maneuver that tots her age perform the world over. Meanwhile her mother and father (who scratches himself in a similarly timeless gesture) linger pleasantly with her; and two separate people, young man and young woman sit, conspicuously solitary, each in long reflection. Their attitudes suggest they are thinking of loneliness and love. Is the young man photographing the falls with his phone—to then send the image off to his lover? Indeed, the lover—a lithe, handsome young man—arrives later and they kiss. But the young woman—her composure and dropped shoulders suggests that her thoughts are deeper than time will so readily resolve. The falls—water streaming like partially braided hair down in front of ponderously etched rock—seems to thunder through this disparate collection of people (and dogs) gathered along the cracked wall and tie them together with the sound of some unimaginably heavy, inexpressive, forever unvarying Being that goes on and on.</image:caption>
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      <image:title>Time Off</image:title>
      <image:caption>At the Spanish Steps in Rome, a crowd of young, international tourists congregate and mill about. This is a tradition that has gone on for centuries. Goethe was here; Keats lived here. It still goes on. Whether it will survive the present pandemic, no one (at least at the time of my making this blog) could say.</image:caption>
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      <image:title>Time Off</image:title>
      <image:caption>By the Seine on a warm summer evening. In Paris, city of shimmering light, sitting here, it feels as if you fleet the time away “like they did in the golden world.”</image:caption>
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      <image:title>Time Off</image:title>
      <image:caption>This is the first shot of a series of photographs taken on New York’s lower West Side. On a warm afternoon, a constant flow of multi-directional people (slow and leisurely, unlike the norm for other places in New York) stroll by. Almost like the chorus in ancient Greek drama, a group of loungers on the stoop of a store observe and comment on the passersby. But no action has yet begun; this must be the opening scene.</image:caption>
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      <image:title>Time Off</image:title>
      <image:caption>London’s Little Venice district. Hippie-era houseboats on waterways inside this little island, which ruled the oceans and colonized much of the world. But their forebears having done that, some are content now to rest on still water, as quietly as a painter’s composition.</image:caption>
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    <lastmod>2023-03-13</lastmod>
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      <image:title>Medieval Woods</image:title>
      <image:caption>Time comes to Arcadia.</image:caption>
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      <image:title>Medieval Woods</image:title>
      <image:caption>Fortune’s Wheel.</image:caption>
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      <image:title>Medieval Woods</image:title>
      <image:caption>The Virgin and the Unicorn</image:caption>
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      <image:title>Medieval Woods</image:title>
      <image:caption>Arcadia Restored</image:caption>
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      <image:title>Medieval Woods</image:title>
      <image:caption>Walpurgisnacht</image:caption>
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      <image:title>Medieval Woods</image:title>
      <image:caption>Durer Retrieving His Rabbit From New Jersey</image:caption>
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      <image:title>Medieval Woods</image:title>
      <image:caption>Dance of Death</image:caption>
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  <url>
    <loc>https://www.fhbimagery.com/partial-portraits</loc>
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    <lastmod>2023-03-13</lastmod>
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      <image:title>Partial Portraits</image:title>
      <image:caption>The youthful sapling that dreamed of growing up to metamorphose into a horse and gallop away with the wind. This dream of epic mobility to come in the future (as opposed to a rooted life yearning for freedom like that) inhabited its deep night dreams and waking fantasies, year after year, and gave the young tree something to live for. II</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e8b82eddd10df303e0004ed/fd2c7754-c875-4434-ab97-00d75678663d/Vitality.jpg</image:loc>
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      <image:caption>The tree is now a hyper-focused adult full of confidence and on the make, now at the height of its energies and incredibly well connected. IV</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e8b82eddd10df303e0004ed/1594307478443-6GHJZXDKJVF8J09KHGSY/Age+discovering+light.jpg</image:loc>
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      <image:caption>The tree is now overwhelmed by the wave of meekness that comes with old age, when one at last is surprised by seeing The Great Light. With sigh of wonder, the tree realizes that it didn’t have to become a great horse or anything else at all—that this was true all along, and that it missed something important by not having seen this until now.</image:caption>
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      <image:title>Partial Portraits</image:title>
      <image:caption>Beware of what you wish for. The little tree did metamorphose, but not into the great, heroic horse it imagined. Instead, it got a human-style experience of adolescence. It felt all the stresses of that metamorphosis—that it’s body had grown huge, clumsy, even grotesque; that it was becoming something it couldn’t control or understand; and that, now raw, over-sensitive and self-conscious, it was sure everyone around it was looking at it. III</image:caption>
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    <image:image>
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      <image:caption>The tree, past its peak, has now been forced to become a rock. “Been there and done that” has transformed into having been and having done and having not found any real success or satisfaction. So many wrong paths were taken. No reasonable likelihood exists of going anywhere different now. A splitting headache accompanies its increasing responsibilities. Its burden of stresses gets worse and worse. Big dental problems emerge from too many years of gritting its teeth. V</image:caption>
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    <image:image>
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      <image:caption>Historic postcard, looking south on/over Herald Square</image:caption>
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    <image:image>
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      <image:caption>“Our minds are as the days are, dark or bright, blown over by the father of gods and men.” The Odyssey</image:caption>
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