THE UNREAL REAL
By MICHAEL PERKINS
I’M A PHOTOGRAPHER, AND YET I CANNOT TELL YOU WHAT “REALITY” IS.
I point machines at the world and I get some kind of recording of light and shadow. Is what I get a literal translation of the way something, at least for an instant, really was? How did my composition, which necessarily had to leave out some things in order to include others, alter the complete truth of a scene? How did my selection of a lens, a time of day, the place where I stand, my own mood effect the outcome? And, if this machine, this recorder does not actually show “reality”, does that make me more of an artist, or less of a technician?
The world as we see it is never mere visual “evidence”. It comes to us filtered through every personal trait that shapes our ability to observe in the first place. Then we, in turn, filter that subjective experience into an even greater abstraction, shoving it through a lens that adds its own biases, limits, or flaws. So what comes out the other end? Should we even be worried that a photograph can’t be real? Might we not, in fact, be relieved to be freed from the constraints of the actual, just as painters and sculptors always have been?
The above image was taken by a person who stood in a particular place at a particular time with a specific piece of optical equipment and decided that the resulting balance of visual elements constituted a “picture”. That selection of a single part of a single moment will either convey a similar feeling to someone else, or it won’t. That’s what we uncertainly refer to as “art”, and, whether we like the terms of engagement, those “really” are the terms. Reality is beyond our reach.
But a commentary on it isn’t.