By MICHAEL PERKINS
PHOTOGRAPHIC STYLE IS REFLECTIVE of the human aging process. You often make pictures differently in different phases of your life. Many of my favorite shooters have, over their careers, evolved on two parallel tracks, both toward simplicity. That is to say that their picture-taking process, i.e., equipment and gear, becomes more streamlined as they age, even as their approach to composition becomes simpler. In every way possible, the best photographers tend to learn, over time, how to do more and more with less and less.
Going into battle with a single camera that’ll do 98% of what you need in any situation is highly desirable, but it takes time to learn how to do that, to resist the temptation to carry every gizmo under heaven on your shoulder at once. But the struggle is worth it; knowing every single feature and quirk of a camera that’s ergonomically solid and functionally streamlined allows you to work fast and instinctively. As for composition, I found that, at least for me, I had to either learn to simplify or just give up on things like landscape work, where everything I shot was crammed with clouds, trees, trickling streams, flocks of birds, and, who knows, the Barnum & Bailey circus. I was making picture after picture where, if the human eye was asking, “where do I look?” my answer was likely to be, “It’s a smorgasbord! Pick anything!” The truth was that I had to go simpler as I aged if I was ever to be effective at all in conveying visual ideas.
Twenty years ago, this image would have taken up twice the area you see here, because, even today, its master frame included, along with the barn and stable, a side building, some empty blue sky, and a few small piles of farm implements….enough distractive information for five pictures. Zeroing out all the color and cropping to keep the entire picture to a basic series of rectangles and triangles (plus their multiplied shadows) turned out much better; all I had to do was develop the courage to cut, decisively, in search of a less cluttered picture. I only select this example because it’s a very clear illustration of the process that I now go through for composing nearly every shot, in that I try to pre-visualize how little information I need to convey my concept. Yes, how little.
This is an ongoing struggle for any photographer, because it’s easy and alluring to do more of everything…more stuff to carry, more stuff to cram in the frame, more things to draw energy away from your primary vision. I am nowhere near where I need to be in this journey, but I can track a little progress, and, amidst all the distractions of, well, living, that’s at least something.
(FIAT LUX, Michael Perkins’ latest collection of images, is now available from NormalEye Books.)