A TRICK OF THE LIGHT
By MICHAEL PERKINS
PHOTOGRAPHERS WHO TRACK THE SUN AS IT TRAVELS EAST TO WEST over the vast expanse of the Grand Canyon have made amazing images of the way light changes contours, shadows, even the sensation of depth and scale over the course of a single day. Such hour-by-hour portfolios present pictures which are less about the subject matter and more about how light shapes that subject. And the same tracking exercise is possible in canyons of another sort, the vertical jungles we call cities.
Buildings in urban settings reveal more in pictures than their own particular physical shapes and designs: they also have visual artifacts tattooed onto them from their neighbors, which block, warp and reflect light patterns in their direction. Thus the most architecturally drab tower can become hypnotic when bathed in patterns of shadows shaped by the tower next door. And that means that those seeking abstract images may find that ordinary parts of the city can be rendered extraordinary by light’s odd bounces. Additionally, the fact that many of these light effects are fleeting, visible, in some cases, only for minutes each day, presents both a challenge and an adventure for the photographer.
In the shot above, a gorgeous Art Deco building in downtown Phoenix, Arizona benefits from a light effect that has only been possible for the last forty years of its existence. Erected in the late 1930’s, the northern face of 15 East Monroe Street would not, at its opening, have been dappled with the shadow patterns seen here. No, it took a soul-less glass box from the ’70’s, located across the street, to bounce patterns of reflected light onto the building as you see it here, and only for about two hours a day between late morning and noon.
During that window, 15 East Monroe displays a wonderfully checkered mix of reflected illumination on its golden terra-cotta exterior. I first observed the patterns ten years ago, and have been going back for occasional looks ever since. The trick, in this image, was to keep the texture of the building from looking too sharp, since the effect itself is somewhat dreamy, and works better if the overall photo of the building is also a little soft. I used a selective focus lens (sharp at the middle, softer toward the edges) to give the overall building a gauzy look, and let the picture really be about the light effect, rather than any specific part of the building. Even at this point, I am imagining about a half-dozen other ways to accomplish this, but this image can at least serve as an initial study, a guideline for what may, eventually, be my final word on the subject.
Photography, clinically defined, is the art of writing with light. Sometimes, regardless of the object in our viewfinder, what light does to things is, by itself, enough for an interesting picture. It takes some restraint to let the light be the subject, and to let the picture, in its most basic form, breathe.
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