THE SECOND PASS
By MICHAEL PERKINS
SOME VISUAL SUBJECTS ARE SO RICH IN POTENTIAL that they evolve from a few essential shots to what, for lack of a better term, passes for a photo “essay”. Such extended coverage of buildings, countries and people used to be common in the heyday of the picture magazine, with up to a dozen pages of images strung together with narrative links in the pages of Life, Look and their many imitators. It’s a great format to work in once you discover a worthy candidate. But, in practical terms, it can be a little like working a checklist.
I document a lot of Art Deco architecture, since it embodies history, abstraction, illustration, design, and fantasy, all in one big fat buffet. That means I spend a lot of time dodging passersby on sidewalks and lingering in lobbies long enough to make the security personnel twitchy. Deco is all about the splendor of detail, some of which can only be revealed by patiently moving from door to grille, elevator to stairway, entrance to entrance, and looking for light that will bring that detail into bold relief.
I used the word checklist a while back because you are often working one in your mind, ticking off the various items as you wander around the site. Gotta do the mezzanine. Need a shot of the ceiling. Did I catch those wall sconces? Thing is, we tend to think of those little check marks as meaning, I’m done here. Moving on….when, in terms of what changing light does to these buildings within a short span of time, we should be actually be thinking, okay, I’ve done the preliminary work. Should go back and check this again in a while. Deco, especially, is rife with reliefs and murals made from a wide variety of materials, many of which will register color and shadows very differently at different times of day. You have to think in terms of “Take One, Take Two”, rather than in the snapshot mentality of “nailed it.”
The images you see here, of the entrance to Vancouver’s magnificent Marine Building (read all about it here) were shot just twenty minutes apart. The top shot shows light landing on the door and its surrounding niche fairly flatly, almost sideways. However, within minutes, as seen in the second shot, the sun has climbed high enough in the sky to blast away at the center of the space, throwing the overhang of the arch into deep shadow. This change intensifies the contrast between raised and flat surfaces and makes the exterior terra-cotta (a material in which the colors are baked right in) more vivid. It also is projecting shadows like crazy. Which version is better? Not the point. It’s about editing choices and being reluctant to think that there is one “official” way to shoot something.
I could show similar changes to the lobby, with light softly entering the stained glass over the door, then crashing through it like a golden ray just minutes later. The point is, exposure is time plus light, and, when tackling a large essay-type project, it’s important to do more than one visualization on key elements. It’s the difference between grabbing a souvenir and creating a keepsake.