TRY A DIFFERENT DOOR
By MICHAEL PERKINS
PUBLIC PLACES, ESPECIALLY RECREATION SPACES, ARE A REAL STUDY IN IMAGE CONTROL. The world’s playgrounds and theme parks are, of course, in the business of razzle-dazzle, and their marquees, grand courts and official entrances are carefully crafted facades designed to delight. For photographers, that usually means we all take the same pictures of the same Magic Gate or Super Coaster or whatever. Great for convenience: not so great for photography.
I’m not saying that it’s impossible to improvise a different way to frame something new in shooting something overly familiar. But I am saying that sneaking around to the service entrance can have its points, too, offering a flavor of things that are a little funkier, a little less polished, a little less ready for prime time. I recall my dad, who, years ago, dreamed of taking the ultimate “real” shots of the circus, trolling around near some of the lesser-traveled entrances and halls, trying to catch the clowns and acrobats either just before or just after their time in the ring. I still pursue that strategy sometimes.
Pacific Park, the amusement center along the boardwalk at the Santa Monica pier, is a predictably colorful, semi-cheesy mix of carny sights and smells. The main foot traffic is straight down the pier to the fishing lookout, but there are alternate ways to get there along the back of the ride and games section. This shot is rather gauzy, as it’s taken through some sun-flecked netting, softening the color (and the appearance of reality) for some gaming areas. I took a lot of standard stuff on this day, but I keep coming back to this frame. It’s not a work of art, by any means, but I like the feeling that I’m not supposed to be there.
Of course, where I’m not supposed to be is, photographically, exactly where I want to be.
You never know when you might spy a clown without his rubber nose.