Alain Delon at Piazza San Marco in Venice, 1962
Charles Xavier on his honeymoon (Erik taking photos). Never, never gonna get tired of this.
We’ve had this before, but reblogging just for dear K’s comment ^^ waaaant :)
((Sequel to this photographer!Erik ficlet))
Erik worries, at first, about Charles’s sudden desire to try photography for himself. His apparent obliviousness to the constant presence of a lens in his life is, after all, one of the best things about him. Really, the last thing he wants is put another photographer in the house. Just because they’re married now, does Charles feel a need to do things just because Erik does them? Can’t he just leave well enough alone?
But it’s not like Erik’s going to say any of that, certainly not on their honeymoon. He just pulls out one of his simpler, sturdier cameras and lets Charles loose on Venice with a roll of film and a crash-course on F-stops.
And it’s beautiful, it’s glorious, because Charles looks through the lens with all the whimsy and fascination of a child looking through a kaleidoscope, and when a pair of pigeons decides Charles and the camera are their new toys, is far more interested in having a good conversation with them than in getting a decent shot. It’s a surreally ‘meta’ feeling for Erik, taking pictures of Charles taking pictures, but between the delicate feathers and the shape of his hands on the camera, the purity of his smile in the shadowless afternoon light, Erik thinks he’s capturing something about Charles that he’s never quite seen in focus before.
He knows this is how he’ll remember their honeymoon — Charles looking at the world through Erik’s lens, and without even taking any decent pictures, still seeing things to wonder and smile at that Erik would never have seen.