I almost never watch television, so it seemed fated that last night, while folding mountains of laundry, I should switch on the glowing box and be immediately confronted by gorgeous, haunting black and white photographs, swept into the middle of a documentary on Sally Mann, a photographer whose body of work has been intensely personal, and controversial. Her own three children were and are her subjects, as is the land she lives on. The documentary follows her journey to create a new collection called “What Remains,” which is about death; the show is planned for a major gallery in New York who cancel at the last minute. The camera captures her shock and self-doubt and grief at rejection, and her husband’s grief too, and his silence, how he has no way to comfort her other than to listen and be present, and I turned to Kevin and just stared, struck dumb. She was saying the same words I say, at low moments, yet how could she possibly doubt, when what she’d created was so obviously of merit and worth and beauty? That moment also gave me a glimpse of what it must feel like to be the one absorbing that grief, on the artist’s behalf. Later, as she walks with her son in the woods, she says that it doesn’t matter if what she’s making is going to sell, she has to make it. She has no choice. I was in tears. It felt very close to the bone.