PUT ‘ER IN REVERSE
By MICHAEL PERKINS
THERE ARE MANY WAYS TO FORCE YOUR AUDIENCE TO SEE THINGS ANEW, to strip away their familiar contexts as everyday objects and create a completely different visual effect. The first, and most obvious form of abstraction we all learned in our cradle, that of rendering a subject in black and white. Some early photographers spent so many years in monochrome, in fact, that they actually regarded early color with suspicion, as is it was somehow less real. The moral of the story is: the photograph demonstrates the world that you dictate, shown strictly on your own terms.
Abstraction also comes about with the use of lenses that distort distances or dimensions, with re-assignment of color (green radishes, anyone?), and by compositions that extract subjects from their natural surroundings. Isolate one gear from a machine and it becomes a different object. Magnify it, light it differently, or show just a small portion of it, and you are taking it beyond its original purpose, and into abstraction. Your viewer is then free to re-interpret how he sees, or thinks, about that thing.
One swift gift of the post-digital world that I find interesting is the ability, through apps, to render a negative of any image with a click or swipe, then modifying it with the same color filters that you might apply to a positive photo. This affords an incredible amount of trial-and-error in a remarkably short space of time, and better yet, you’re out in the world rather than in the lab. Of course, negatives have always been manipulated, often to spectacular effect, but always after it was too late to re-take the original picture. Adjustments could be made, certainly, but the subject matter, by that time, was long gone, and that is half the game.
Reversing the color values in a photograph is no mere novelty. Sometimes a shadow value can create a stunning design when “promoted” to a lead value with a strong color. Sometimes the original range of contrast in the negative can be made more dramatic. And, occasionally, the reversal process renders some translucent or shiny surfaces with an x-ray or ghostly quality. And, of course, as with any effect, it can just register as a stupid novelty. Hey, it’s a gimmick, not a guarantee.
“Going negative”, as they say in the political world, is now an instantaneous process, allowing you the most flexibility for re-takes and multiple “mixes” as you combine the neg with everything from toy camera effects to simulated Technicolor. And while purists might rage that we are draining the medium of its mystery, I respectfully submit that photographers have always opted for fixes that they can make while they are in the field. And now, if you don’t like the direction you’re driving, you can put ‘er in reverse, and go down a different road.