End of the Jews
““Just watch,” says Marcus. “Get your bearings. You’ll be working soon enough.” A thousand times, her hands dart to her rib cage, wanting to lift a camera that’s not there. Nina doesn’t complain, although it feels like an insult. Would a new trumpet player be forbidden to touch his horn? Marcus tells her she’s being trained to pay attention, that she’s got to understand what’s going on before she can know how to shoot it. Photography is more than composition, it’s communication. Why be so quick ...to talk before you listen?
Nina does her best to be chastened, and to trust him, but her camera is the only thing she has to justify her presence. Without it, she feels as if she’s being winked about—as if the band suspects apprentice to be a code word for something else. Marcus doesn’t seem overly concerned with correcting such impressions. If anything, he encourages them. He stands proprietarily close to Nina when others are around, speaks in confidential tones when none are necessary, touches her forearm or the small of her back.MoreLess
Nina does her best to be chastened, and to trust him, but her camera is the only thing she has to justify her presence. Without it, she feels as if she’s being winked about—as if the band suspects apprentice to be a code word for something else. Marcus doesn’t seem overly concerned with correcting such impressions. If anything, he encourages them. He stands proprietarily close to Nina when others are around, speaks in confidential tones when none are necessary, touches her forearm or the small of her back.MoreLess
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