I know. I just came out with a new novel in the very last days of 2025, and suddenly hereâs another new book. But this one isnât fiction. Itâs kind of an autobiography, and kind of a picture book.
Wait. No. Itâs a total picture book.
Itâs about cameras.
Film cameras. Early digital cameras. Retro digital cameras. And all the pictures that they take. Or rather, pictures that I took. Me. I took all the pictures.
You see, when AI imagery first burst into the public eye, I played with it a lot. I was fascinated by it. And it got better. And better. And better. Then suddenly I realized something.
This isnât just a neat new toy. Itâs a problem.
Because now you donât need a photographer or a camera to create an image. You just need to type. A lot. Or barely at all. You can be precise and wrestle with prompts for hours, or you can vaguely describe something and let the AI surprise you.
And yes, it is fun. But itâs still a problem.
The more I saw it that way, the more I gravitated back toward my original photography. Film. Analog cameras. The slow, physical, chemical process. The thing where light actually hits something real. And I wanted to get back to that.
So, in a surge of nostalgia, I began repurchasing the film cameras Iâd worked with in the 70s, 80s, and 90s. But once I started, I didnât want to stop. I began discovering other wonderful old cameras too. Ones Iâd never been able to afford when they were new.
Now theyâre relatively cheap. Very easy to find. Even working ones. And just like that, I had started a collection I never intended to start. A bunch of beautiful, weird, elegant old machines, each with its own personality. But it didnât stop there.
Early digital cameras are what really brought me back into photography as a profession. They gave me freedom. Freedom from film, from cost, from delay. They changed the way I saw images. So I started collecting those too. And at some point I began writing blog posts about each camera. The experience of using it. What it felt like in my hands. What it made me want to shoot.
And then I stopped, and didn’t publish them, because I realized something else. These aren’t blog posts, they’re chapters of a book. A different kind of autobiography. A biography of the cameras themselves. What they were like when they were new. What theyâre like now. And a visual record of what they see and what I saw then and now. Photographs from the 70s and 80s alongside photographs taken today with the same machines.
I have a new book out. Let me say it again: I have a new book out.Finally!
Itâs called No Such Thing as Gnomes, and it is the sequel to No Such Thing as Mermaids. If you enjoyed the first book â or even if you just tolerated it politely â this one continues the tradition of insisting that things absolutely do not exist while quietly proving the opposite.
I said at the beginning of the year that this book would be published in 2025. It is now published in 2025.
So letâs start by acknowledging that small but meaningful victory.
What I did not say at the beginning of the year was that it would take roughly twice as long to write as I thought it would. This was not a strategic decision. It was simply the familiar author experience of saying, âThis should be straightforward,â and then discovering that characters have opinions, plots wander off, and apparently entire chapters insist on existing.
Somewhere along the way, the book became darker, stranger, and more stubborn than planned. Which, in retrospect, probably means it turned into the book it was supposed to be. Or at least the one that refused to let me stop writing until it was finished.
For anyone keeping score at home:
Yes, it is a sequel.
Yes, you probably want to read No Such Thing as Mermaids first, but you don’t have to, as it stands alone.
No, this was not written quickly.
Yes, it was written honestly.
And yes, it now exists in the world, which feels slightly unreal.
Publishing a book is a strange thing. One day itâs a pile of notes and half-finished scenes, and the next day itâs a product listing with a cover and a buy button. At that point, all you can really do is nod, pretend this was the plan all along, and move on.
So here it is. It took longer than expected. It arrived when promised. And itâs finally out of my head.
If you decide to read it, I hope you enjoy the time you spend there. If not, thatâs fine too. Gnomes donât exist anyway.
A seed is the most magical thing you can hold in your hand.
Iâve always been a believer that some things are just self-evident if youâre paying attention. You donât need a pile of studies or a complicated theory. Just life experience, a little observation, and some honesty about how things tend to go.
Over the years, Iâve boiled it all down into something simple I call The Grand Seed â a kind of personal philosophy that helps me make sense of why things happen the way they do, and what seems to work when they do go right.
Reality Isnât What We Think It Is
One of the stranger things about being human is that we donât actually experience the world directly. Not the way we think we do. We like to believe we see the world as it is, but the truth is, thereâs always a filterâan interpreter sitting between us and reality.
Think about a dog, or a bird, or any animal out in nature. When they see a tree, theyâre not thinking, Ah yes, genus Quercus, possibly an oak. They donât label it. They donât assign extra meaning to it. They just experience the tree. They interact with it directly as part of their environment â either it’s shelter, food, a place to perch, or something to ignore. Theyâre plugged right into the raw data.
We, on the other hand, don’t really interact with the tree itself. We interact with the idea of the tree. We see it, sure, but almost instantly our brain slaps a label on it: âTree.â Our minds start attaching information weâve gathered over the years: Thatâs an oak; it’s about twenty years old; my grandfather had one like that in his yard; I wonder if it would make good firewood.
By the time all that processing is done, weâve distanced ourselves from the actual experience. Weâre no longer seeing the tree â weâre seeing our mental model of the tree. The symbol. The story. The shortcut our brain uses to navigate the world.
This happens with everything: people, places, even our own emotions. We interact with our symbols for them, not the raw thing itself. Itâs useful â symbols help us think faster, communicate, and make decisions. But they also blind us to whatâs really there.
Thatâs what I mean by Perceived Reality. Itâs not reality itself, but our internal version of it â the version our senses, language, and experiences have filtered for us.
Meanwhile, what I call Absolute Reality â the pure data of existence â just is. It doesnât care what labels we put on it. Itâs not telling any stories. Itâs just matter and energy, doing its thing.
The interesting part is, everything â including our own thoughts â is made of that same information. Thatâs why sometimes our thoughts can influence our experience of reality. Not because thoughts are magic, but because both thought and reality are built from the same raw stuff: information, patterns, energy.
Once you realize how much of your world is a story youâre telling yourself, you start to loosen your grip on needing those stories to be a certain way. You get a little closer to seeing things as they are. Not through the filter, but directly â or at least, as close as we humans can get.
Balance Is Everything
If thereâs one rule that seems to apply across nature, society, and our own heads, itâs balance.
When somethingâs out of balance, systems work to restore it. Thatâs true whether weâre talking about ecosystems, relationships, or your own mental health. Even the conflict in your own life is often just some imbalance trying to correct itself.
And when balance isnât restored? Thatâs where things start to fall apart.
The Tug-of-War Between Positive and Negative
In my mind, everything we do kind of falls into two camps.
On the positive side, youâve got things like empathy, synergy, growth, and learning. This is where people listen to each other, help each other out, and combine their strengths. When people cooperate, they can build things none of them could have pulled off alone. Thatâs synergy â where one plus one doesnât just equal two, it equals five or ten. You see it in good friendships, strong families, healthy businesses, and communities that actually work. Itâs where generosity feeds back into itself. You help someone today; tomorrow, someone helps you. It snowballs.
You also see it inside yourself. When you respect yourself and trust that youâre allowed to screw up and still be a good person, you give yourself room to grow. You learn from failure instead of being crushed by it. You adjust, you adapt, and you get better. A little progress makes you stronger, and that strength makes the next step easier. Momentum builds. One good thing leads to another.
But thereâs another side to all this â the negative side.
This is where good things get twisted. Itâs where natural desires turn into addictions. Weâre wired to enjoy food, comfort, attention, security. These are all good and necessary. But when they stop being tools for survival and start becoming ends in themselves, we get into trouble.
Comfort turns into complacency. Pleasure turns into dependency. A healthy drive for recognition turns into an obsession with approval. Before long, youâre chasing the feeling instead of living your life. And just like positive momentum snowballs, so does the negative. The more you feed those addictions, the harder it gets to break free.
This kind of imbalance shows up everywhere â not just in individuals, but in entire cultures. Look around, and youâll see societies that once thrived now buckling under the weight of their own excess. People get more, but feel less satisfied. Instead of gratitude, thereâs emptiness. Instead of community, isolation. Itâs the same pattern on a bigger scale.
The mental version of this is just as destructive. Negative thought feeds itself like a fire that never runs out of fuel. You tell yourself youâre not good enough, and every little setback becomes proof. Failure piles onto failure, not because you’re doomed, but because you stop believing you can change course. You stop trying. The loop closes in on itself.
But the good news â and this is important â is that both sides work the same way. Just like negativity can spiral downward, positivity can spiral upward. A small shift in how you think can lead to a small change in how you act. That small change creates a better result, which makes you a little more confident, which encourages you to try again. Over time, that becomes a habit. And habits become your life.
So you have a choice. You can let the negative spiral run your life. Or you can catch it, interrupt it, and start building the positive spiral instead.
One builds life. The other breaks it down.
The Seed
At the heart of all this is what I call The Seed Idea:
Self-respect and a positive mindset are the key ingredients for success.
Not success as in âget rich and famous.â Success as in: a life that works. A life that feels good to live.
If you respect yourself, and you approach things with the intent of benefiting both yourself and others, you set yourself up for real growth. You create synergy. And you move toward balance â which is where everything wants to be anyway.
Thatâs The Grand Seed. Simple. Not always easy. But simple.
Don’t Preach, Just Live It
The tricky part â and maybe the most important part â is that you donât lecture people about this stuff. You live it. You show it. You let others see it in action.
People donât learn from being told what to do. They learn from seeing what works.
Thatâs the kind of seed that actually grows.
At the end of the day, itâs not about trying to control everything. Itâs about understanding how things work, staying aware of balance, and choosing positive over negative when you can. The rest tends to take care of itself.
Iâve never really been drawn to the usual list of vices. No thrill-seeking stunts, no dark alley temptations, nothing that comes with a warning label. But thereâs one thing Iâve definitely wrestled withâsomething just as powerful, but a lot harder to spot.
Approval.
Not the kind where someone appreciates your work or thanks you for somethingâthatâs fine. I mean the kind of approval you start needing like oxygen. The kind that starts calling the shots. That kind.
It starts small. Maybe you do something and someone says, âThat was great.â You feel good. You want more of that. So next time, you do it a little differently, maybe not how you wouldâve done it, but how you think theyâd like it. Before long, you’re doing more of what you think people will clap for and less of what actually means something to you. You stop living from the inside out. You become a mirrorâjust reflecting back what you think other people want to see.
And hereâs the trap: peopleâs approval feels like connection, but itâs not. Not really. Itâs more like applause at a show you donât even want to be in. Youâre performing for a crowd that might not even be paying attention, and even if they are, it doesnât feel like love. It feels like relief. Temporary relief from the fear that maybe youâre not enough unless someone says so.
The problem is, when you start outsourcing your self-worth, you canât stop. Because the high never lasts. One compliment wears off and you go looking for the next one. A new face, a new room, a new platform. Chasing smiles like theyâre currency. And all the while, you lose track of your own voice.
It took me a long time to realize this. And I still catch myself slipping into old habits. Writing something and wondering, âWill people like this?â before I even ask, âDo I?â
But Iâm learningâslowly, messilyâthat the real freedom isnât in getting everyone to approve of you. Itâs in not needing them to. Itâs in knowing who you are, what you value, and being okay with the fact that not everyoneâs going to clap.
You canât live a real life if youâre always auditioning.
So these days, I try to catch myself when I start reaching for that old fix. I take a breath. I remember what it felt like to be a kid drawing spaceships just because I liked drawing spaceshipsânot because anyone was watching. And I remind myself that Iâm allowed to live like that again.
No audience. No applause. Just real life, unfolding on its own terms.
As the Red Hot Chili Peppers put it: âChoose not a life of imitation.â
You donât have to become what the world expects. You just have to be who you already are.
Thereâs this weird thing I do when Iâm anxious. I sit still and try to think my way out of it. Like maybe if I just analyze the hell out of whateverâs got me tied up in knots, Iâll eventually think the anxiety into submission.
Spoiler: it never works.
Anxiety, for me, is like being haunted by a ghost that only shows up when I stop moving. The moment I sit down to think, it drags a chair up beside me and starts whispering worst-case scenarios into my ear. Itâs not even creative about itâjust your standard issue fears dressed up in different costumes: failure, embarrassment, regret. The usual suspects, and sometimes they hit so hard they make me jump, like I’m startled.
Am I the only one that happens to?
However, something shifts when I get up and do something. And by something, I mean anything. Even if it’s just washing the dishes or walking outside. It’s like moving my body gives my brain a break from itself. And the ghost? It doesnât seem to know how to keep up. It lingers for a bit, maybe tries one last whisper, then wanders off in search of someone whoâs just sitting there thinking too hard.
Iâve come to realize that anxiety thrives in the abstract. It feeds on questions like âWhat if?â and âWhat does this mean?â and for me, especially, âWhat will they think?â But action lives in the concrete. When youâre actually doing somethingâediting a photo, sending the email, petting a catâitâs harder for your mind to conjure all those imaginary disasters. Itâs too busy dealing with the real world, right here, right now.
Donât get me wrongâaction doesnât magically fix everything. It doesnât guarantee a happy ending or make the risk go away. But it changes the texture of the moment. It cuts through the fog. Itâs like flipping on the headlights during a stormy night driveânot because the road suddenly becomes safer, but because you can actually see where youâre going.
So now, when I feel that ghost creeping in, I try not to think my way out of it. I just move. I write the thing. I take the picture. I screw it up and learn something. Because no matter how badly it goes, itâs better than being stuck in my head with all the lights off.
And maybe thatâs all action really is. Not the opposite of fear, but the light switch we reach for in the dark.