KEEPIN’ IT (FROM BEING) REAL
By MICHAEL PERKINS
ONE OF THE KEYS TO UNDERSTANDING WHERE PHOTOGRAPHY IS lies in studying where it started from. If you place the camera amongst the other technical marvels of the nineteenth century, from trains to telegraphs to telephones to electrification, you see a steady stream of mechanical/scientific means of quantifying or measuring things, with the Magic Box That Imprisons Light being seen as one more device to help us master or harness nature. This got the invention off on a certain foot, in an origin story that we still struggle with.
We got used to thinking of photographs as recordings of reality. We wuz wrong.
Unlike painting, which was natively seen as an emotional / interpretative means of commenting on the world, the camera began life being regarded as a scientific instrument. An official recorder of reality…its dimensions, its contrasts, its events. The real record. But since, from the very beginning, one could manipulate the results, whether with recording medium (glass plates, film, etc.), exposure, processing, and so forth, each photographer had it within his power to also apply his/her own idea of what “the truth” was. Fakery appeared early on, and of course, both the choice to go with the default tonal palette of monochrome or the whim to deliberately engineer one’s one tonal schema (hand coloring, for example). This meant that, from the start, reality was not a final destination for photographs. It was a point of departure.
That’s why I don’t understand the backhanded compliment that something/anything is appealing because it “looks like a photograph”. My reflexive answer is, “whose photograph?” Walker Evans? Many Ray? Annie Liebovitz? Granny at the birthday party? Photographers may use “reality” as raw material, but none of the best of them, to my taste, are satisfied with reality as a final message. The image seen here, for example, is the product of manipulation, and, if I’m lucky, that fiddling will seem logical, or invisible, or, if I’m really careful, inevitable, as if my result could not be any other way. But real? God, don’t anchor me, or photography with the anvil of mere reality. The world as it is will never be as fascinating to artists as the world that might have been, or may yet be.
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