HEADING DIRECTLY FOR OBSCURE
By MICHAEL PERKINS
WE’RE OFTEN TOLD, WHEN PLANNING TO SHOOT A GIVEN SUBJECT, to “set an intention”, to draft some kind of approach to the task, both to save time and avoid disappointment. You’ve seen the mental checklist: what kind of lens, camera, angle, framing, etc. will yield the best results? So making up your mind is Job One in a lot of photo tutorials. Fine. However, it’s what you do once you change your mind, or, in effect, junk your original plan, that can present real opportunity.
In driving around a neighborhood I hadn’t visited for a while near a small municipal airport, I discovered that, since I’d last been there, they’d erected a multi-story memorial to all the pilots from various conflicts who had used this particular airfield for training purposes. Appropriately enough, they’d hung a beautifully restored example of one of the most popular trainers of the 30’s and ’40’s, a Boeing Stearman 75, the craft that taught hundreds of World War II-era air jockeys how to fly. Built near the twilight of the biplane area, these agile and cheap little crates, nicknamed “yellow perils”, were a vital part of the history of aviation, and the one seen here is a gorgeous specimen. I’d planned to make the standard museum-post-card view of it, using the buttery texture of a Lensbaby Velvet 56 lens to add a slightly dreamy look. It wasn’t a hard shot to make and I made it.
It was later, however, during several walk-arounds, that I decided to try a non-objective, more abstract approach, not to merely document the plane, but in the spirit of history and myth, to suggest it, rather like a dream or a memory. The slight distortion and color shifts in a window reflection of the plane, combined with just a fragment of the actual craft, seemed to suggest speed, but to also render the plane in a kind of mystical way, as something shifting, vanishing, appearing and re-appearing. Hardly a postcard rendition, and yet I’m glad I gave it a try. The plane that’s physically here is glorious, to be sure, while the hallucination of the plane is transitory, like the era that produced it, like the names inscribed on the memorial’s explanatory plaque.
Planning your shots ahead of time is comforting, and truly helpful in terms of organizing one’s thoughts. But just because photographs can depict things in a fairly “real” fashion doesn’t mean you have to be anchored to that one way of seeing. Plan “B” can be as exciting as “Plan A” if you let your brain ( and, in turn, your camera) go with the flow.
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