HOLDING HANDS IN THE DARK
By MICHAEL PERKINS
ONE THING OF WHICH THE PHOTOGRAPHIC COSMOS IS NOT IN SHORT SUPPLY IS THE SELF-PORTRAIT. What might have been a specialized kind of image-making just a few scant years ago is now, in the mobile era, a flat-out obsession. We snap ourselves being happy, being moody, eating a cheeseburger, or giving that cheeseburger a thumbs up with friends, etc, etc. We make more photographs than ever of our faces, and, it could be argued, say less and less in the process.
I think that a good self-portrait, if it is to say or imply anything true about the life behind the face, requires a little prep time, or at least a pre-conceived notion of what one is trying to reveal about that person. That said, I think our concept of a selfie is, at the very same time that it’s overdone, is also far too narrow. Simply speaking, there are other parts of our physical envelope that convey information about who we are and what we’ve been in the world. The hands, for example.
If the eyes are the window to the soul, the fingers are the foot-soldiers who carry out the orders that the soul dreams up. The mind behind the face can certainly shine through a good facial portrait, but consider that the hands are the real agents of change in a person’s life. They lift: they move: they put plans into action. Moreover, hands bear the traceable time-stamps of all that agency. Each wrinkle and scar is a document of both deliberate action and unforeseen consequence. Hands belong in any serious study of a person’s life, no less than the face. The trick, as with photographing every other subject, is in getting the image you want.
I find, for example, that normal room light keeps a lot of fine detail from registering in an image, since human skin is highly reflective, causing the grain of the skin to wash out. One way to get around that is to use light painting, a technique we’ve discussed here before. Set up your composition and focus with the camera on a tripod in normal light, then leave everything in place until nightfall and make the image in a completely darkened room while experimenting with a range of exposure times. Your only illumination will be a small hand-held LED, such as a miniature key chain flashlight….nothing wide-beam or super-powered. Use a wireless remote to trigger your shutter, then “write” light paths over the hand, slowly tracking the LED over small areas until all have been “hit” before the trigger snaps back shut.
In the above example, I wanted greater contrast between the hills and valleys of my knuckles, veins, etc., and I wanted to minimize the shine-making effect of the light, so I lit from an angle, sideways from the tips of the fingers. That bumped up the pores and hairs into starker relief as well. Two things to remember: using short stabs of light, that is, turning the LED rapidly on and off, is better than a continuous beam, since you can pinpoint the effect more precisely. Also, using a very small aperture (f/16 here) provides maximum depth of field and enhanced detail. Other than that, it’s truly trial-and-error. This frame, as an example, is one of forty attempts, so it’s not a project you do on the fly. But this, I feel, is my hand, my real hand, its labors and history in full view. And it’s as much a portrait as any face can ever provide.
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