ADDITION BY SUBTRACTION
BY MICHAEL PERKINS
“THE EYES HAVE IT” went the old maxim, a phrase which was a kind of bookend to another chestnut about the eyes being the “window to the soul”. Both sayings relate to most of our earliest photographic training, with scads of manuals and tutorials dictating that all portraits must focus (literally) primarily on the eyes, even at the expense of sharpness in the remainder of the picture. This rule has also been enshrined in the eye detection focal systems of even the most rudimentary cameras.
All of which has served us well, apparently, during these days of the Great Hibernation, when masks have concealed many clues to our personality, even as they have protected us against contagion. Indeed, in many social situations, the eyes have become almost the sole messenger for people’s inner thoughts, intentions, moods. And depending on how you view the situation as a photographer, that’s either maddeningly frustrating or grandly intriguing. Still, the idea of making a formal portrait of a person while they are masked hasn’t really occurred to me as a legitimate means of measuring the self of said person. I am always waiting for the gauze to come off, for the “complete” person to be revealed.
That’s why, recently, I was truly surprised when, out of about a half dozen snaps of my wife Marian as she visited with a friend, I chose the one with the least amount of her face in view as my favorite. There’s was something…call it mystery, call it minimalism…about the way her hand momentarily fanned across her features in much the same area that a mask might cover. Why was this interesting? Why is anything interesting? The point was that her eyes were, indeed, a perfectly reliable barometer of her mood, prompting me to ask, how much face is enough face for a portrait? Are we more fascinated by what is left out of a picture? And, if so, are there many more remarkably veiled faces to be explored before the Age Of The Mask fades away?
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