I’LL JUST HAVE A LIGHT SANDWICH
By MICHAEL PERKINS
SOMETIMES FACING OUR OWN PHOTOGRAPHIC WORK is less like dredging up memory and more like staring into the face of a complete stranger. Even seconds after the shutter snaps, a real distance widens between what we did in the moment and what we hold in our hands. Who did this? What were we thinking? Why did this work (or, in many cases, not work)?
Shooting quickly on the street worsens this feeling of alienation. We might not have even been so mindful of all the factors at work in a picture while it was being made, which makes learning from both the duds and the keepers that much more difficult. Learning to completely deconstruct a shot is, therefore, one of the most valuable skills for any photographer. It’s not always an easy thing.
In the above shot, there are a number of contributing factors at work, not all of them in play for any other single shot taken on the afternoon I made it. For starters, I was lucky enough to be about 200 feet above average terrain, so the golden light of early dusk is hitting the face of the church pretty hard, as well as adding to the deepening blue of the sky. Secondly, I am shooting with my camera set on “vivid”, building even more saturation into the shot. At the same time, I am shooting through a polarizing filter, which, while not working fully at this late hour of the day, is also deepening the sky. Finally, the church, which is already glowing from the sunset light, is also being floodlit with sodium lamps, amping up the orange tones and contrasting even harder against the sky.
The effect is a kind of “light sandwich” four layers deep, a combo that only works for this particular shot. One or two shots later in the same sequence, these same conditions rendered the colors over-rich and pretty unreal in appearance. Sadly, I can’t even take credit for having deliberately planned the shot in this way, since, if I had, I probably would have chosen a slightly faster shutter speed and avoided the softness in the passing cars. Still, as I dissect it after the fact, it’s good practice to be able to do a post-Sherlock to see exactly what happened, in case I ever do want to manipulate a photo in this general way.
Ot I could just say, “cool” and move on.
And, sure, I’ve done that too.