In a photo from decades ago two men hang over the prow of a large ship, painting it while under way. In white t-shirts and dark pants, some twenty feet below the deck, they eptiomize so much of the world to me. Long after the source of the photo has disappeared, I see them, tiny figures against the hulk of steel and the spread of the ocean below. They are two men with a regular job, a task of understandable skill if special magnitude and place. Painting, on a hot summer day, a giant expanse of metal.
Painting a giant expanse of metal while dangling from it, alone, in motion, at sea. As with everything, the addition of context zooms the lens to overwhelming scale.
This sense of scale, of the undertsandably human against the largness of the world, is what pulls me to climb buildings, to hike hills, and to travel, no matter the destination. I find this feeling staring out at Tokyo from the top of a skyscraper in western Shinjuku, standing atop a hill in Santa Cruz, approaching or departing from any airport. The feel of the view pulling back is the sensation I love most.
For the last several months my favorite source for it has been Nat Geo Found, a collection of old images from National Geographic’s archives. Spanning the world, the last hundred and twenty five years, and a huge variety of lives, this collection gives rise to a view of the world that is not simple, or lonely. Instead it shows, without claim to own, how amazing and how diverse, how rich and how personal all our lives are. Widely available, easily accessible, the site is a reminder to me too of how wonderful the internet is, and how much I appreciate this access, unthinkable only decades ago.
Standing in front of a group of friends last week explaining in a few moments why I spend so much time in small factories and border cities, I applied the miracle of Google Maps to the problem, isolating a factory and zooming out to reveal the location. Sitting high on a mesa in the desert, this building has no glass for windows, only holes, and the workers alternately sweat and freeze, depending on the season. And yet seeing it from space, though it draws gasps, will never have the same staggering touch as standing on the edge of the plateau, staring out across the empty landscape. Being there, a tiny single human in the middle of a huge expanse, trapped with others by circumpstance and employment, brings a sense of fragility, and of amazement. That sense, found in the monumental stacks of shipping containers in Shenzhen, in the winding canyons of Colorado, and at the edge of the Pacific on all sides, is reason enough to keep going, to find jobs that take me further out of the city I inhabit.
Like those two men painting their ship, so precariously alone in the ocean and yet part of something larger, understandable from a wider view.