THINK A, SHOOT D
By MICHAEL PERKINS
2020’s GREAT HIBERNATION HAS FORCED US to add many arbitrary items to our “to do” lists, if for no other reason than to consume the mountains of newly available time with which we find ourselves encumbered. We know that a certain number of our new daily tasks are what bureaucrats call “make-work” projects, but the therapeutic value of adding real energy to even “fake” goals is indisputable. And for photographers, those projects can involve a return to things we used to do but came to consider ourselves as “done with.”
For me, that’s meant a revisitation of film, not so much for any superior aspect it might have over digital shooting, but as a refresher in the use of habits I’ve held longest as a photographer. First; it’s true that, given the technical advances and conveniences introduced over the years, there is nothing left in analog that I can’t do almost unilaterally better and faster in digital. Nothing. However, from a planning or sensibility viewpoint, there certainly are mindsets that analog photography confers upon your process. As a consequence, I try to balance the discipline of working with film with the ease of shooting in digital…to think A and shoot D, if you like.
In film, you were working with a finite work medium. Your camera could only take 24 or 36 images at a time without being hungry for more “fuel”. You paid for each new dose of that fuel, and then you paid again to have it processed, in order to see if you succeeded or failed. Worse, there were no “do-overs” built into the system, which meant that you paid real money even for your mistakes. This automatically slowed down your picture-taking process and taught you the habit of planning purposely for a set outcome. Anyone who is too young to have ever shot film has no direct experience with the extra steps in metering, measuring and composing that accompanied every shot. Everything took four moves or more. Additional lighting was cumbersome and often unreliable. Worse, some kinds of film were more unforgiving of mistakes than others, and they usually came at a premium price. And then there’s the risk of not even being able to get the camera to give you what you want. The analog frame seen here, for example, took me five full minutes to shoot, and I can still find about a dozen things wrong with it. But I can inform my digital work with the thought process it took me to make this imperfect analog image.
So far, I’m doing a great job of unselling everyone on analog for all time. But in an age in which there was no immediate results for your shots, the exercise of planning and waiting before shooting had a payoff. You seldom shot anything you didn’t care about. You were slower, more deliberate about shoots, and tended to pre-plan them, to engineer all the failure out of a picture well before you took it. You edited yourself in advance, because it cost too damned much to, as in the digital era, just crank off thirty variations of every subject and hope one of them worked out. Am I asking anyone to go out and buy a roll of film and load it into Grandpa’s Hasselblad? Not at all, and that’s not even the point. It’s far more important to shoot with analog’s special brand of intentionality, even within the comfy confines of digital. As I said earlier, think A and shoot D. Maybe an exercise in which you shoot your next, say, thirty-six images on 100% manual settings, with no re-takes on any of them and no allowing yourself to go beyond that arbitrary number of frames, might be valuable. Or not. We no longer need to put up with much of the drudgery of film, but we might be well served to observe some of the disciplines it imposed on our work.