The photographs of N.P. Thompson

midtown Atlanta

the jitterbug waltz


“Arbus’s work is a good instance of a leading tendency of high art in capitalist countries: to suppress (or at least reduce) moral and sensory queasiness. Much of modern art is devoted to lowering the threshold of what is terrible. By getting us used to what, formerly, we could not bear to see or hear, because it was too shocking, painful, or embarrassing, art changes morals—that body of psychic custom and public sanctions that draws a vague boundary between what is emotionally and spontaneously intolerable and what is not. The gradual suppression of queasiness does bring us closer to a rather formal truth—that of the arbitrariness of the taboos constructed by art and morals. But our ability to stomach this rising grotesqueness in images (moving and still) and in print has a stiff price. In the long run, it works out not as a liberation of but as a subtraction from the self ; a pseudo-familiarity with the horrible reinforces alienation, making one less able to react in real life. What happens to people’s feelings on first exposure to today’s neighborhood pornographic film or to tonight’s televised atrocity is not so different from what happens when they first look at Arbus’s photographs.”

—Susan Sontag, from “America, Seen Through Photographs, Darkly”

(italics mine)


kind of blue




the sound of rain

a blue world

See also: Midtown shimmer.

blue illusion


seeing the light

Midtown in black and white

my secret love

blue note dissolve

the rooftops at sundown

ulterior motives

some other autumn

In memory of P.J.S. on her fifty-fifth birthday.

Midtown blue


Midtown dark

“Institutions are a complicated market-place, feelings a boudoir rich in ever-changing interests.”

—Martin Buber, from I and Thou.

Midtown sepia

Midtown wave

Blade Runner

Taken on September 28, 2010.

Georgian Terrace in blue

Shades of Wong Kar Wai’s 2046 . . .

Piedmont Park


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