REVERSAL OF FORTUNE
By MICHAEL PERKINS
ANYONE WHO HAS EITHER STUDIED OR DABBLED IN CANDID PHOTOGRAPHY has heard Henri-Cartier-Bresson’s term “the decisive moment”, which refers to that heat-lightning instant when the best possible photograph of a situation or sensation can be made. Of course, you don’t have to really believe that there is a single such moment, and many do not. There may be any one of thirty possible frames to be extracted from even the simplest human subjects, but we seem to always be looking for that salient, isolated image that defines it for all time.
Cartier-Bresson’s pursuit of the decisive moment is usually thought of with regard to photographing human activity, but there is also a mindset about photographing places that there can be a “superior” or “best” angle to view them from. That is why landmarks and monuments yield so many pictures that are so much the same. We all shoot the Eiffel Tower the way that everyone else before us has shot it…..because? Well, there’s a great question.
Do we think of earlier images of the tower as a standard of some kind that we only certify by imitation? Is our mind eager to catalogue things in their “proper” orientation? Are we only interesting in what things are “supposed” to look like? Ideally, we should be making pictures to authenticate our own visions, not to rubber-stamp those generated before us. And yet, with famous places, it’s often a case of human see, human ape.
We have to teach ourselves to photograph places as if we were the first to ever point a camera at them. It’s not that hard a habit to cultivate, really. Crank yourself around 180 degrees and take the reverse angle. Move six inches to the left and frame the most obvious part of the cathedral, ruins, or palace out of your composition. It might yield nothing, and then again, it might add enough freshness to the image to overcome what I refer to as “tourist fatigue”.
The above image from the sculpture plaza at the Museum of Modern Art in New York is a near reverse of the more conventional view in the smaller color shot at left, which I first featured in the post Put Yourself Out There a while back. In one shot, the Diana statue is center stage. In the other, she is relegated to the edge of the frame, acting as a pointer toward the rest of the photograph’s information. Extra cost in terms of time to get this very different composition? Ten seconds.
It’s not that re-imagining a subject is that hard. It’s that we so seldom question our first imagining of things, often settling for the first, technically successful image we get. And that first image, as we often learn, might only be a dress rehearsal for the real show.
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