SCULPTING WITH SHADOWS
By MICHAEL PERKINS
ONE OF THE MIRACLES OF CONTEMPORARY PHOTOGRAPHY is how wonderfully oblivious we can afford to be to many of the mechanics of taking a picture. Whereas, in an earlier era, technical steps 1, 2, 3, 4 ,5, and 6 had to be completed before we could even hit the shutter button, we now routinely hop from “1” to “snap” with no thought of the process in between.
In short, we don’t have to sweat the small stuff, a truth that I was reminded of this week when imitating one of photographer’s earliest masters of night photography, Gyula Halasz, or “Brassai”, a nickname which refers to his hometown in Romania. Starting around 1924, Brassai visually made love to the streets of Paris after dark with the primitive cameras of the early 20th century, sculpting shape from shadow with a patiently laborious process of time exposures and creating ghostly, wonderful chronicles of a vanished world. He evolved over decades into one of the most strikingly romantic street artists of all time, and was one of the first photographers to have a show of his work mounted at New York’s MOMA.
Recently, the amazing photo website UTATA (www.utata.org), a workshop exchange for what it calls “tribal photography”, gave its visitors a chance to take their shot at an homage to half a dozen legendary visual stylists. The assignment asked Utata members to take images in the style of their favorite on the list, Brassai being mine.
In an age of limited lenses and horrifically slow films, Brassai’s exposure times were long and hard to calculate. One of his best tricks was lighting up a cigarette as he opened his lens, then timing the exposure by how long it took for the cig to burn down. He even used butts of different lengths and widths to vary his effect. Denizens of the city’s nightlife, walking through his long shots, often registered as ghosts or blurs, adding to the eerie result in photos of fogbound, rain-soaked cobblestone streets. I set out on my “homage” with a tripod in tow, ready to likewise go for a long exposure. Had my subject been less well-lit, I would have needed to do just that, but, as it turned out, a prime 35mm lens open to f/1.8 and set to an ISO of 500 allowed me to shoot handheld in 1/60 of a second, cranking off ten frames in a fraction of the time Brassai would have needed to make one. I felt grateful and guilty at the same time, until I realized that a purely technical advantage was all I had on the old wizard.
Brassai has shot so many of the iconic images that we have all inherited over the gulf of time that one small list from one small writer cannot contain half of them. I ask you instead to click the video link at the end of this post, and learn of, and from, this man.
Many technical land mines have been removed from our paths over photography’s lifetime, but the principal obstacle remains…the distance between head, hand, and heart. We still need to feel more than record, to interpret, more than just capture.
All other refinements are just tools toward that end.
THANKS TO OUR NEW FOLLOWERS! LOOK FOR THEM AT:
- Wonderful Photos of New York in 1957 by Brassaï (vintag.es)