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History Living Telephones

The Coiled Tether

Do you remember the physical weight of a conversation? It lived in the coiled, plastic spring of a landline telephone cord. We would stretch it across the kitchen, pacing over linoleum floors, the coil twisting around our fingers as we talked into the evening.

That cord was a literal tether. It confined us to a specific radius, but in doing so, it anchored us to the present moment. When you were on the phone, you were nowhere else. You were anchored to the wall, and by extension, to the person on the other end of the line.

There was also the sheer tactile satisfaction of the device itself—the heavy, contoured plastic of the receiver that fit perfectly between shoulder and ear, and the definitive, emphatic slam of hanging up on someone, a punctuation mark that the gentle tap of a touchscreen will never quite replicate.

Then came the subtle, sharp click on the line. Call waiting.

“We traded deep, uninterrupted connection for the anxiety of possibility.”

It was our first taste of modern conversational fragmentation.

Before call waiting, a busy signal was a polite “do not disturb” sign hung on the door of an ongoing dialogue. It meant you were occupied, engaged, entirely spoken for.

The click changed everything. It introduced a sudden, silent geometry to our relationships. When that secondary tone sounded, you were forced into a split-second hierarchy: do I stay with the person I am talking to, or do I chase the mystery of the unknown caller? The phrase, “Can you hold for a second?” became a small, culturally accepted betrayal of the present moment.

We traded deep, uninterrupted connection for the anxiety of possibility.

Eventually, the mystery of the ringing phone was solved altogether by a small, rectangular box with a glowing LCD screen: Caller ID.

For decades, a ringing phone was an invitation to a blind date. You picked up the receiver with a mix of anticipation and vulnerability. It could be a best friend, a wrong number, a telemarketer, or the person you’d been hoping would call all week. You answered with a universal greeting—a neutral, expectant “Hello?”—because you had no idea who was stepping into your home through the wire.

Caller ID gave us the power of the gatekeeper. It allowed us to screen, to prepare, to decide if we had the emotional bandwidth for the name flashing in digital text. We gained control, but we lost serendipity. We lost the unfiltered, genuine surprise of hearing a familiar voice when we least expected it. We stopped opening the door blindly and started looking through the peephole.

Today, we are entirely untethered. There are no coiled cords tying us to the kitchen wall. We carry our communication in our pockets, capable of ignoring texts, sending calls to voicemail, and managing our availability with unprecedented precision. Yet, for all this freedom and control, it often feels as though we are more disconnected than ever.

The good old days weren’t necessarily better because the technology was superior; they were beautiful because the limitations of the technology forced us to be human. The cord forced us to stay put. The lack of caller ID forced us to be open. The absence of call waiting forced us to finish the conversation we started.

Sometimes, looking back, I miss the simple, undeniable commitment of answering a ringing phone, twisting the cord around my index finger, and just listening.

Categories
Black and White Hawaii Lightroom Monochrome Photography Photography Photography - Black & White Photography - Nikon D600

Fun with Reflections – Infrared Shimmer

Infrared Shimmer - Hawaii - 2013
Infrared Shimmer – Hawaii – 2013

One of the things I’m always looking for when out shooting is a puddle – something that can be used to shoot reflections.

Here’s a shot based on a big puddle – a hotel swimming pool – shot shortly after sunrise. I loved how the palms were shimmering in the surface of the pool’s water.

I used Lightroom and one of Trey Ratcliff’s Lightroom presets to process the image- Infrared Morning to help create the effect. Naturally, I also flipped the image upside down so that the trees look semi-normal!

Categories
Black and White Photography Photography - Nikon D600 San Francisco/California Street Photography

Shooting Reflections along the Embarcadero in San Francisco

On Edge - San Francisco - 2013

My friend Chris Gulker taught me late in his life to pay attention to light and shadows. It’s a way of seeing – being focused on the contrasts we see. Another thing I’ve learned to pay attention to are puddles – as they open another window on a subject. Often with an unusual perspective.

After we got back from Cuba, Doug Kaye and I headed to Embarcadero Center in San Francisco for another photo walk. This has become one of our favorite venues – so much great light, angles, people, and other delightful stuff.

As we were getting started this particular morning, we headed out southeast of the Ferry Building and started noticing the puddles along the way. Ah, reflections!

While Doug was capturing this shot – shooting with an Olympus OM-D, I captured him.

Categories
Black and White Monochrome Photography Photography Photography - Black & White Photography - Nikon D600 San Francisco/California Street Photography

Appreciating the Magical Reflections in San Francisco

Reflections - San Francisco - 2013

One of the best times to go out shooting pictures is right after it’s rained.

Rain adds saturation to colors – and the rain also leaves behind these magical looking glasses called puddles.

For me, photography is all about this kind of magic – those special elements that come together at a venue and surprise us with a new point of view. Puddles bring reflections – and reflections bring magical ways of seeing.

Being out on a morning after the rain is one of the best times for a photographer. You just have to be open to it – open to seeing it, right there, on the ground before you. Mostly, you need to get lower – to fill out the reflection, to combine the upper (real) and lower (reflection) portions of the image into the right balance.

This image is from a recent photo walk with Doug Kaye at San Francisco’s Embarcadero Center – one of our favorite venues. It was shot with my Nikon D600 and tweaked in Photoshop CS6 using Nik Color Efex Pro 4 (Detail Enhanced and Pro Contrast), Topaz Simply 4 (Black and White II present – mostly in the reflection half of the image) and Nik Silver Efex Pro 2 where the final tweaking was done – adding midtone structure and the color.

I thought about taking out that patch of fog in the upper right – but, somehow, it works for me just to leave it alone as a point of interest. Actually, for me that patch of fog is part of the magic!