FORWARD INTO THE PAST
By MICHAEL PERKINS
IN HIS ESSENTIAL 1982 BOOK MEGATRENDS, the late John Nesbit, trying to predict the uber-changes that would eventually govern our present-day world, described a coping method, a law of compensation called “high tech / high touch”. HT/HT was a kind of social recalibration in which the feeling of dislocation generated by surges of technological advancement would be followed by movements that re-emphasized the comforts of the world just vanished. Think of it as a kind of emotional recoil, in which we spring back from forward leaps to the familarity of simpler times, such as the recent re-emergence of physical vinyl phonograph records as a reaction to the phantom musical realms of the cloud. Nesbit’s prophecy seems to have been realized in many such areas of our society, and photography has certainly seen its share of the phenomenon.
In the camera world, Nesbit’s “high tech-high touch” is a boomerang reaction to the digital era in picture-making, a time of enormous advances in the way images are recorded, manipulated and distributed. Indeed, as foretold in Megatrends, the past thirty years has seen a tremendous counter-revolution that, far from embracing a world that is bent upon perfecting the photographic process, actually rejects it, longing for a return to the very imprecision that defined the analog world, topped off, this time around, with a healthy dollop of nostalgia.
Digital photo sharing was no sooner off the drawing board than people began to pine for their old shoeboxes of physical prints, pictures “you could hold in your hand”. Cue the rebirth of the defunct Polaroid company and a return to instant analog photography, bad film, faulty lenses and all. Hate the coldness of binary storage? Enter the new passion for film of all kinds, aimed at an audience too young to remember how expensive and unwieldy it was, or how poorly built some bargain cameras had been. Coated with the sheen of yester-appeal, these shortcomings became pluses, hailed as “spontaneous”, “unpredictable”, or “delightfully imperfect” in the re-introduction of cheap old plastic toy cameras like the Holga (see above image) and, in turn, the creation of an underclass of all-new, technically compromised gear under the banner of the “Lomography” movement. Like your retro on the arty side? Welcome to the all-manual Lensbaby line, whose higher-end optics sold selective focus to a global fanbase.
A loving return to the imprecision and high failure rate of the film era became attractive to the creators of apps as well, and today, the insanely efficient cameras of the iPhone age sell millions of dollars of applications designed to simulate light leakage, expired film, high grain, lens flares….to, in essence, enshrine all the aggravations of the analog age as some kind of photographic golden oldies. We now praise the defects we used to spend tons of money to avoid. The scary uniformity of high-tech photography has come with a side of high-touch comfort food. It’s a little like Captain Kirk refusing the option of living in a world free of conflict, declaring, without irony, “I need my pain.” Perhaps the chance that something will go wrong is a needed contrast in a world where the likelihood of error has largely been engineered out. Neither precision or randomness is a guarantee of artistic merit, however: that, at least remains, as constantly as ever, in the individual photographer’s hands.
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