Onions in a nest

There was a sign next to this pot explaining what kind of onion this is. Unfortunately, I didn’t take a picture of the sign or otherwise note down the information. I have a vague memory of it saying that this particular type of onion is native to South Africa (I might not have remembered this correctly though). If I get a chance I’ll stop by, check and update this post.

I liked the round shapes and the smooth and rough textures. I also like the way the onions appear to be in a nest made from the surrounding greenery.

Plantpots

I think it was the light that appealed to me here – sort of ‘dappled’ with interesting shadows cast on the pots. I also liked the arrangement of the pots – I’d never seen plant pots placed on top of each other in the is way (i.e. with the the bottom pot inverted as a base). Maybe it’s common, but I can’t recall having seen it before.

Mailboxes at 522 North State Road

Something about this mass of mailboxes caught my attention, but I was about to pass it by as too uninteresting when I noticed the small figure to the bottom right. What is it? Why is it there? Unanswered questions for which I’ll never have the answers. To me this added a kind of quirky interest to the scene and made it worth a picture.

Hold Still by Sally Mann

I really enjoyed this book. Sally Mann is, of course, best known for her wonderful photography, but this book confirms that she’s also an excellent writer (the book was after all a finalist for the National Book Award).

The book is subtitled: “A memoir with photographs” and it certainly contains a number of photographs: some by Ms. Mann herself and many from a treasure trove of family photographs found in boxes in her attic. It is these photographs that were the inspiration for the book.

A Los Angeles Times review entitled “Sally Mann’s memoir ‘Hold Still’ as lyrical as her photos” describes it as follows:

Photographer Sally Mann has built her career capturing the intimate details of the bodies, landscapes and objects that surround her. Her subjects have included her young children depicted as wild things (“Immediate Family”), landscapes of her beloved Virginia (“Deep South”) and vivid, raw images of her own body and that of her husband’s (“Proud Flesh”). Her excellent memoir, “Hold Still,” a careful, detailed literary and visual portrait of the photographer’s early influences and experiences, begins with Mann opening what she calls “ancestral boxes” filled with old photographs. She notes that rummaging through old photos, deciding which to keep and which to trash, is a delicate and emotional enterprise fraught with the misguided belief that visual representations of ourselves offer clues to who we are.

I’d love to be able to write something like this, but I see a couple of obstacles. First, I don’t have the boxes of photographs and other memorabilia that she has. I have next to no photographs of my parents and grandparents and very few of myself as a child. While I have a lot of family photographs they mostly date from the late 1970s onwards. Second, I can’t write to save my life. So it’s not looking good for “Howard Dale. A memoir with photographs”.