TRACE OR NO TRACE?
How do you like your pizza photo? With a guy…?
By MICHAEL PERKINS
PHOTOGRAPHING PEOPLE IN THEIR NATIVE SETTINGS, that is, making pictures of what they do in order to explain what they do, is the essence of street work. We are fascinated by people being “caught in the act of being themselves” (as the intro to the old show Candid Camera used to state), and we get a ton of context on all the stuff we’re seeing in a frame when we see where human activity fits into it all. I get it.
And yet, I still find myself evaluating the impact of an image with a sort of “trace or no trace” choice. Do the people in the picture explain it, actually anchor it, or am I (we) merely in the habit of sticking them there, like punctuation in a sentence? Can we comprehend what the photograph is about, and what part humans had in its meaning, without the actual presence of said people?
The pair of shots you see here, taken seconds apart in a funky urban pizzeria, are the latest pair to present me with this conundrum. Certainly the cook in the top image conveys scale to the surrounding oven and fixtures. For example, with him in the frame, it’s easy to convey the size of the interior space, i.e., it’s pretty compact. He also “looks the part” in that he looks like he fits in a pizzeria, that is, he’s well cast in his part.
But look at the second image, which was taken after he ducked briefly into the kitchen. You get many of the same cues and clues. You get atmosphere from the distressed brick in both the walls and the oven. Indeed, without the chef to distract you, you might actually linger longer over the details in the oven itself, which unmistakably screams pizza. I suppose the reason I dither with this dilemma is the fact that I’ve often been forced to suggest the presence of people in various still lifes and architectural compositions, either because they’re not part of, say, a museum exhibit, or because they are dead or absent for more mortal reasons, leaving me with only their leavings from which to tell a story.
Even if we (or you) can’t come up with a consistent rule, the point is that not all people make a photographic story richer. Sometimes they are mere pieces of furniture, props if you will, added for balance. You alone must decide whether they’re a necessity or mere window dressing.