the photoshooter's journey from taking to making

STUMBLING ONTO SECRETS

By MICHAEL PERKINS

REGARDLESS OF WHETHER YOU CONSIDER YOUR PHOTOGRAPHY TO BE JOURNALISTIC BY NATURE, you will, over the course of your shooting life, have the visual evidence of other people’s stories dumped into your lap. In most cases, it’s the physical aftermath of some human event that you are arriving at after the fact. Leave-behinds from a mystery. Who left this here? What happened here? Who made this, and why?

Photogs regularly stumble onto other people’s secrets, or at least the litter of secrets. People abruptly break camp and move on from the site of their strangest whims, leaving clues that may or may not make their original intentions clear. And since we take just as many images of the things we don’t understand as those we think that we do, we snap away at the strange archaeological digs people abandon when they go on to the next thing in their lives. The fact that we don’t comprehend just what it is that they left behind doesn’t make the pictures any less compelling. In fact, quite the contrary.

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This office chair was discovered just where you see it, under the golden canopy of a single enormous palo verde tree in full spring blossom. The shady seclusion of the scene seems to indicate a desire to shelter, to escape, to carve out a quiet spot of contemplation. And while that may indeed be the case, the whole thing invites a lot of other questions. Why this chair? Was it the person’s favorite, or, conversely, a perch so hated that dragging it here was the next best thing to lugging it to the town dump or pouring lighter fluid on it? What was motivating enough to transfer a chair from the nearest office suite (about a tenth of a mile away) and finding a place where it could be left with no fear of discovery? Was the site scouted, or merely happened upon? How many times did the person come to sit in the chair, and why and for how long? Was it the object of reward (in an hour I’ll be able to escape to the chair) or some kind of desperate relief (if I don’t get away from these people, I’m going to just lose it..)?

One picture conjures all of this, and more, additional plot lines which I’m sure even the casual viewer can supply without much effort. That’s the beauty of even the untold stories captured in photographs. They tell us enough to keep the seeker coming back for more. We think, as photographers, that we want to reveal everything, but, in reality, many of our most treasured images are of other people’s secrets, unrevealed, and, hence, irresistible.

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