What I Did On My Summer Vacation—In 1973
One thing I packed for my first (and so far only) international trip was my new camera, a Minolta 35 mm SLR (single lens reflex). The whole business of doing photography with such a sophisticated instrument, rather than my old Kodak Instamatic, was so strange to me at the time I had to refer to the manual whenever I attempted to use it. So I was careful to bring along the little white instructional booklet, too.
It was August, 1973, and I was on my way to Paris to meet my new girlfriend, having been introduced to her at a party the previous May. She was a schoolteacher out of class for the summer and living with her sister and her sister’s boyfriend (an Italian waiter the sibling had met in Rome), in a one-room apartment on the Left Bank. It was all very romantic, and the sisters’ were old hands at international travel, having made the European scene for several summers running. My girlfriend, with her knowledge of the country and her high school French would be my guide, or so I assumed. The tip-off that perhaps she wasn’t “in the know” so much herself was the fact that August was the month when well-off Paris residents abandoned the hot city, leaving it to hordes of low-end tourists. Actually, August was the only time most schoolteachers could afford to vacation in Paris. That was my situation, too, being a low-grade (in every sense) Visual Information Specialist at the Social Security Administration, one with child support payments to make.
As I boarded the Paris flight I promised myself that at no time during the eighteen days in France would I make a single “touristy” photograph of a famous monument, such as, for instance, the Eiffel Tower. If I did choose to photograph a popular site, I would figure out how to do it in a fresh way—as an abstraction, perhaps, or from a great distance framed by trees, or with something completely unexpected in the foreground, something ugly, like a wall plastered with handbills. The goal was to produce what on the surface appeared to be “bad” snapshots, but which in fact had required a lot of thought and would provoke an unexpected response in the viewer, a response at once intellectual and emotional. It wasn’t that (in “postmodern” lingo) I wanted so much to “deconstruct” the tourist snapshot—I doubt I knew the term back then—but I was determined to avoid committing that photographic sin of sins, the visual cliché. Of course all this was a tall order for an amateur photographer. Looking back, I now realize that rather than being a photographic trail-blazer I was simply a visual snob.
I was very young, though, and in love with love and at the same time passionately trying to master a new craft while in a new country where I didn’t speak the language and was completely dependent on my new girlfriend for even the basics, like food and lodging and where to find a bathroom. And after little more than two weeks of walking the streets of Paris, motoring through town after small town in Southern France and “making images” not “taking pictures” of cathedrals, castles rooftops and markets, I was homesick and more than ready to board the flight back to the U. S. I was also mildly depressed, having convinced myself even before I saw the processed slides that I had failed in my quest for a series of perfect “anti-travel” images.
It’s appropriate that this tale of misguided youth (but not misspent, since in retrospect I loved the experience) ends in irony. When my girlfriend asked me to pose for one last snapshot, I agreed, and of course she wanted the Eiffel Tower in the background. I’m too ashamed to show the resulting image, but at least that’s one creative sin which will be forever on her head, not mine.
“The E-Tower” is the first in a series of short travel-photo essays which will post on this site from time-to-time. (Click images for larger views.) Copyright © 2008 Jim Sizemore.