Photographs are often talked about for their ability to capture reality or truth. But I don't recall us talking much about fantasy. Words that are used in the definition of fantasy: imagination, chimerical, fiction, strange, improbable. I've been batting around a few questions. What role, if any, does fantasy have in making and viewing photographs? Does fantasy feel like something? Is fantasy at odds with reality or truth? I think pictures can and do open up a world of make-believe. That doesn't mean there isn't truth to them. The truth often seems familiar and that's why I respond to it when I feel like I see it in a photo. That might be the more universal and iconic truth we've discussed before, the kind of truth we recognize in symbols. But some truth is more improbable, and I seem to have an even stronger feeling about strange truths (also layered or slowly revealed truths). Perhaps the latter are more individual or personal truths, even more secretive truths we each hold. The "fantastic" can be captured with a gesture, a color or colors, blur, a pose, a streak of lighting, a particular juxtaposition, even a particular subject or subject matter. There often seems a sea-sawing aspect of "wish" involved, as if fantasies are about things we would or could want . . . even if we don't always want to make them come true. Do our photographs, or our acts of photographing, reflect wishes and desires? Beethoven's Piano Sonata in C-sharp minor, Opus 27 Number 2 is commonly known as the Moonlight Sonata because that's how a music critic described it at some point. The only thing close to a title from the composer is more of a stage direction, "Quasi una fantasia" (almost a fantasy). It's a fairly descriptive suggestion to the player of the piece. Every pianist who tackles it has to figure out how to play like a fantasy. And with the almost, Beethoven likely makes his own point. Is there an "almost" quality to all fantasy that makes it a fantasy . . . almost what it is or could be? I wonder about expressing almost in a photograph. Is "almost" already part of the nature of a photograph? Is it almost, but not quite, its subject? Is it a bit of fantasy about its subject? What does a fantasy feel like and do you feel it in your own and in others' photographs or in the process of making them?