
I say it endlessly, prayerfully:
I want to see.And intuitively, I think that seeing is about more. It makes sense, I think. When we are blind, we think sight is, obviously, about seeing more, about seeing all that we can’t right now, about seeing that for which we now only grope, feel , imagine.
And, for certain, this is true. Gehazi needed his eyes opened to the spiritual world that surrounded him. The beggar needed his eyes opened to the splash of sun’s blush across a horizon, the glint in water’s eye, the explosion of poppy’s scarlet. Hagar needed her eyes opened to the well, and hope, right within her reach.
But, in the paradoxical tradition of the Upside Down Kingdom, might there be times that sight is actually about blindness? I can’t say I ever considered such a surprising twist, until my exploration into seeing suggested otherwise. I hastily scribbled as my photography instructor spoke:
“Now you need to remember, when you paint or write, those acts are about adding. Think of it: you may have a blank canvas or paper. You have to decide what words or color you will trail across the emptiness. Photography isn’t about that.
Photography is about beginning with a full canvas. And figuring out the art of subtraction: what will you leave out of the frame, what will you not include in the shot, and what will you choose to focus upon?”
Seeing is the art of subtraction. Upside down, radical notion. Turns the idea of seeing on its head.
I ask: Is it true?
True north knows no other home than in His Word. I line up a skewed world with the compass of His Word. And read the story of Peter.
You know the scene. Waves batter and buffet, shattering foaming white. The wind howls and moans, slicing hair across eyes, thunderously drumming sails relentlessly. Land is but a sliver of distant anchor. It’s impenetrably black, stars and moon blotted out like clouds of squid ink. Robes are pulled tighter. The chill of the fourth watch of the night whips through.
That—what is that there? It’s late. Squint eyes close, rub, peer again. Can it be? Hearts jam up in throats. Hands grow clammy and shake. Is that a… a… man? There? Striding effortlessly across the pounding breakers? Terror strangles. The scream mangles as it escapes, “
It is a ghost!” Fear writhes and wraps through the boat like a menacing python.
Into their horror, comes a voice. Immediately. Assuring. Confident.
“
Take courage!” The snake loses its choke hold.
“
It is I.” I? Who could that be but Him? Jesus? An incredulous, nervous laugh breaks the tension. It doesn’t seem plausible but with Jesus anything, everything is indeed possible. The python releases, retreats.
“
Do not be afraid.” If it really is Him, then yes, no fear. But is it Him? Eyebrows raise, shoulders shrug, a few heads shake.
Rash Peter, passionate Peter, he’ll find out. He yells loudly over the roar of water, shrieking of wind, the hammering of their hearts.
“
Lord, if it is thou, command me to come to You on the water.” There. That will be the litmus test, the irrefutable proof. If this eerie apparition putting foot to choppy waters and finding solid ground, a foundation on which to place his weight and effortlessly make step after step, truly is Jesus, anything, everything truly is possible. Even the likes of Peter walking on undulating, fluid water. The python rears, deliberating.
The voice of Jesus carries, caught up with the wind: “
Come!” The snake falls dead.
Does Peter’s chest grow hard with fear, with gripping realization?
What have I said? Does he throw his head back and break the night up with crazy, wild laughter?
This Jesus! Does he bite his lip, clench his fists tight till knuckles turn white and throw his leg over into the stinging, rocking storm?
I will then.
We’ll never know for certain the inner thoughts of Peter’s mind in that startling moment.
But we do know this:
“
But Peter got out of the boat, and walked on the water and came toward Jesus.” His heel presses into the rocking waves and, incomprehensibly, these black night waters hold him. Mind-boggling. Like a water strider, he does not sink, but knows, staggeringly, suspension, upheld. Eyes fixed on Jesus, he takes another step, and another.
A biting gust of wind lashes his robe to his legs. Peter looks away from that face, those steady, sure eyes. The water heaves and swells, rolling, pitching.
“
But seeing the wind, he became frightened.” In a flash, the python resurrects, screws up, tightens his death grip.
But seeing the wind…. When Peter was blind to the wind, he had eyes for Jesus and feet for the waves. When Peter practiced the art of subtraction, and blocked wind and waves from his sight, Peter saw God incarnate, miracle, wonder. When Peter subtracted the distractions from his frame of sight, he entered into the spiritual reality.
And when he didn’t subtract the entire scene from his line of view?
"But seeing the wind, he became frightened, and beginning to sink….”
When he left off focusing on the face of Jesus, and zoomed out to take in the whole scene, his feet fell through the molecules of hydrogen and oxygen. When he subtracted nothing, but went for a wide-angle view, Peter sees the wind. Ironically, no one has the ability to see wind, where it comes from, or where it goes. What caught Peter’s eye that wave-tossed night? Was his mind’s eye seeing scenes of that blasting wind crashing him into the mouth of the foaming, ravenous sea? Did he turn to see the boat and his companions hurled and flung about by the merciless howling? Whatever the case, Peter did not subtract from the scene to focus only on the face of Jesus.
Sputtering and flailing in the frigid waters, the near-drowning Peter spews, “
Lord, save me!” Sounds vaguely reminiscent of the blind vagabond begging for sight, doesn’t it? When we do not choose to subtract from the scene and deliberately, resolutely focus, we plunge into an icy vortex of murkiness.
Compass on true north, I wear my camera over the course of the next week, and practice the art of seeing. I try on the discipline of subtraction.

An early dawn chill finds me peering through the viewfinder, zooming in on frost on the petals of the season’s last sweet pea . The frame fills with minute hoary pearls studding a carpet of green, tendrils trailing the leaf up the garden windmill. I shift to cut out a weed, a stray, stubborn lamb’s quarter.
I turn, and wait, watching the strained crimson of the laboring sky. And then the final thrust from dark into light! The horizon births a glowing red head of flooding light, bursting upon the fields, the trees, the expanse of sky with uncontainable, spilling glory. I consider where to position the camera, what to place in the foreground, the background. Into the lens , I let come the spindly trunks of juvenile ash, ordering them in some odd, pleasing arrangement. I set the sun to one corner, deliberately, audibly reminding myself of the rule of thirds. Then I notice the excavation pile of dirt at field’s edge, the remaining deposit of a recent farm building project. I reframe the scene without the unattractive heap of dirt.

Come breakfast, Shalom sits in a shaft of morning sunlight, coroneted in gold. I set the aperture, modify the shutterspeed…then notice how her hair looks like wild nest of down, soft and riotously fluffed. I slip down to focus on her eyes, the curve of her cheeks, and let her hair only fringe her face.
Seeing well may mean choosing to subtract well.
Hanging on the wall in our home is a framed watercolor print of a wildflower bouquet in an old enamel pitcher. The profusion of color erupts amidst a gardening bench’s shards of pottery, clumps of dirt, rusting gardening tools. The verse underneath the painting reads, “Whatever things are lovely…think on these things.”
My discerning husband graced with the print more than a decade ago, a tender exhortation for his wife during a season when the fog fell thick, and I fell deeper. Today, heading out with meals for hungry men working in the fields, grabbing camera gear too, I pause in front of the picture, the words, to gather my baskets together. I read the words over again, like I do several times everyday. But today it strikes me: Isn’t that what the Apostle Paul is saying? “Whatever things are lovely…think on these things. Subtract from the frame. Focus on the good.”
It’s harder with three dimensional people than with photographs. But that is who the Apostle Paul is speaking to, speaking about. To grown children with difficult parents. To grown parents with difficult children. To wives, husbands, with neglected hearts, to neglected dreams with pressing responsibilities. To deformed bodies, malnourished relationships, seemingly hopeless situations.
What can we subtract from our frames? On what good can we focus? For what can we give thanks, see as lovely--regardless of the wind that whips?
Today will bring difficult hills to climb, difficult people to love, difficult tasks to accomplish. Today will bring waves.
Subtract from the viewfinder. Focus with fixed eyes on Him.
Walk on water.
Father, give grace to subtract the wind and the storm from my viewfinder. Focus my weak eyes on You. Give me wisdom, strength to practice the discipline of subtraction. By Your grace, let me walk the waves.
Part One: See Part Two: See the Well Part Three: Seeing Along the Beam Part Four: Colors of a Tear Washed World Part Five: Father of Rain