NEGOTIABLE

By MICHAEL PERKINS

ONE OF THE FIRST “COMMANDMENTS” that were once sacrosanct to newbie photographers was the concept of sharpness. We were taught to worship the resolution quotients of all lenses and to choose them based on arcane charts and bench tests that professed to certify perfection. Such data made us look askance at the glass we currently owned and to slobber over the newer, crisper glass that shone forth from the catalogues (or websites). Many of us broke the bank in this pursuit, abandoning perfectly fine lenses that didn’t live up to someone else’s holy absolute, chasing the little red wagon of sharpness right down the street to bankruptcy court.

Escape, 2020

But as it turns out, sharpness is only a must for some kinds of photographs, and (listen closely), only if we say so. Museums around the world are bursting with life-changing images that fall far below that arbitrary high water mark for resolution set by God-knows-what-secret-society, and, if you examine the whole range of images you personally regard as your “keepers” there will be compelling pictures within that stack that don’t pass the sharpness fantasy…..and yet work, and make their arguments powerfully and elegantly. Leaning too hard on any one commandment in photography, whether it be sharpness or exposure or composition, leads you away from spontaneity and into stultification. Work that has only to meet some arbitrary technical standard to be qualified as art can, of course, never aspire to be art at all.

The best path to satisfying photographs is to trust yourself in the moment, to hear the voice that says that it’s time to snap the shutter and go for broke, damn the results and the critics. The shot you see here is, yes, technically “imperfect”, as it was shot a bit slow for the speedy little bird’s sudden departure. My original plan was to cook up something poetic as he placidly sat on a perch, obligingly posing for my convenience. But he is a bird, and has a bird’s priorities and doesn’t give a ripe damn about mine, and so off he went. Now, I could waste a lot of space here rationalizing the whole result and saying that, of course, I planned it all along, only I didn’t. Like some of my other favorites pictures, it contains a generous kiss of good luck from the camera gods, and that’s okay. I could fret over the fact that if I’d had a faster, sharper lens, the bird’s body would be frozen in perfect register, but I’m not going to. I love it when a plan works out, but I also love it when something just happens.

Today’s emerging photographers have a much more relaxed attitude toward “rules” than we older shooters, and that, on balance, is a welcome change. It explains the entire “low-fi” and lomography movements which value shooting from the hip and the heart with minimal forethought, something that consciously chooses emotional verity over technical imperfection. And why not? What harm to bring more kinds of voices into the conversation? As I get older, I am more grateful for the choices that are negotiable, more likely to be labeled as “sometimes try” rather than “never do”. For a guy who can’t even manage to eat two consecutive hot dogs with the exact same condiments, I find that it’s a better way to, er, fly….