WHEN TEXTURE IS THE TALE
By MICHAEL PERKINS
THOSE WHO BELIEVE THAT SUBJECT MATTER IS KING IN PHOTOGRAPHY ARE FACED OFF in an endless tennis match with those who believe that only impressions, not subjects, are the heart of the art. Go away for fifty or sixty years and they are still volleying: WAP! a photograph without an objective is a waste of time! WAP! who needs an object to tell a story? Emotional impact is everything! And so on. Pick your side, pick your battle, the argument isn’t going anywhere.
Thing is, my assertion is that you don’t actually have to choose a side. Just let the assignment at hand dictate whether subject or interpretation is your objective. There are times when the object itself provides the story, from a venerable cathedral to an eloquently silent forest. And there are times when mere color, light patterns, or texture are more than enough to tell your tale.
I find, for example, that texture is one of my best friends when it comes to conveying a number of important things. The passage and impact of time. The feel and contour of materials, as well as the endless combinations and patterns they achieve through aging and weathering. A way to completely redefine an object by getting close enough to value its component parts instead of viewing it as a whole. This is especially true as I try to refine my approach to images of buildings. I find that breaking the overall structure into smaller, more manageable sections helps to amplify texture, to make it louder and prouder than it might be if a larger scene just included the entire building among other visual elements. Change the distance from your story and you change the story itself.
This Massachusetts barn has tons of character whether seen near or far, but if I frame it to eliminate anything but the raw feel of the wood, it demands attention in a completely different way. It asks for re-evaluation.Contrast the rough-sawn wood with the hard red of the windows,and, again, you’ve boosted the effect of the coarser texture. Opposing textures create a kind of rudimentary tug-of-war in a picture, and the more stark the contrasts, the more dramatic the impact.
Traditional, subject-driven story telling will dictate that you show the entire barn, maybe with surrounding trees and a rolling hill or two. Abstracting it a little in terms of color, distance and texture just tell the story in a distinct way. Your camera, your choice.