the photoshooter's journey from taking to making

Latest

THE “DELETEDS” CATALOG

By MICHAEL PERKINS

THE 1985 DISCOVERY OF THE WRECK OF THE TITANIC by Robert Ballard tested the talents of experts from as wide a range of specialities as the objects found in the doomed ship’s debris field. Some of the things found on the floor of the Atlantic were readily identifiable to the casual observer: chandeliers: cases of wine bottles: chairs. Cataloging others required the trained eyes of cultural historians, people versed in the daily world of 1912. The everyday becomes the exotic in very short order in the modern world. And one of the tasks for photographers is having these quotidian objects sit for their portraits before they pass, swept along in an ever-accelerating tide of change.

The Sony D-2 Discman, complete with surplus jacks for line-out and wireless remote. Things will be great in ’88.

You read about stunts in which common bits of household clutter from just a few decades ago are shown to millennials or teens, many of whom puzzle over what the object did, or was for. To be sure, going all the way back to, say, a rotary dial telephone could confound more than a few of us, but in these demonstrations, some young people have been stumped by iPods. Part of what brings a thing to the commercial market is the style it takes to catch the customer’s eye. If that typically fleeting style proves consistent with the object’s function, the thing may survive long enough to be a classic. Other such gizmos are transitional, the things given to us “on the way” to something more essential.

The recent Grand Hibernation we’re all under has made photographers reassess lots of things. What’s a fitting thing to make a picture of? What among our tools is still vital to our art, versus mere collected clutter? And, in the inevitable house-cleaning sparked by all this surplus time, what’s to be done with all the things we no longer use but for which we might harbor some residual affection? Should we mark their passing with a photograph? Should we create a “deleted” catalog of some kind? Is there anything to be gained or taught by doing so?

My favorite photographs often turn out to be the very ones I wondered the most about…that is, arguing with myself about whether they should be made at all. In the case of the Sony D-2 “Discman” you see here (circa 1988), I can’t say it was the first such device ever made for the purpose of making compact discs a portable and private habit, but it certainly influenced my own decision to turn away from vinyl (“heresy” I hear you hipsters hissing), and that, in turn, changed utterly the kind of music consumer I would become going forward. For some, the earlier, cassette-based “Walkman” was that moment. I just never embraced taped formats for a variety of reasons.

So this image represents a point at which I went from a rotary phone to a push-button? Craft your own analogy, and find the objects that, before they vanished, served as pivot points in your own life. Throw them out or tenderly tuck them back into storage for another day. But look at a few of them with a photographer’s eye. You may be far enough removed from them to see something new.

FROM ONE CHAMP TO ANOTHER

Frank Sinatra’s “amateur” image from the 1971 Frazier-Ali fight.

By MICHAEL PERKINS

THERE IS NO GREATER THRILL IN PHOTOGRAPHY than when one scores what is often disparagingly called “a lucky shot”, a term that’s usually applied by other teeth-gnashers whose luck wasn’t running on that particular day. To be sure, there are times when fortune seems to play the decisive role in the success of a picture, but, in truth, just as there are no coincidences, there are also no pure accidents….that is, shots that were totally a matter of good luck. I don’t believe that skill, strategy or vision are ever completely absent from a good photograph. We always stamp something of our experience and technique onto the process to some degree.

Which brings us to a classic example of a great photograph that has long been saddled with the tired “lucky shot” label. The story carries a little extra cachet because of the players involved, to wit:

When Frank Sinatra managed to wangle ringside tickets for the hottest event on earth, the 1971 Frazier-Ali fight at Madison Square Garden, he was already calling in every chit he had for the privilege of merely being in the house. What’s more, he wasn’t seated with the “regular” high-rollers, the Diana Rosses and the Streisands, who had, let’s admit, pretty premium seats to “the fight of the century”. He was right at the canvas’ edge…..a sub-set of celeb juice beyond the reach of standard juice, prime real estate that was typically comprised of the press pool photographers. And Frankie had figured out how to crash that little party, baby.

There seems to be some disagreement, all these years later, as to exactly how Sinatra approached Ralph Graves, the managing ediitor of Life Magazine, about the possibility of sitting with the other shooters and cranking off shots with his own camera. After all, Graves had plenty of talent assigned to the fight, so why would he need more shots by an amateur? Amazingly, Graves actually seems to have taken a “what do we have to lose” attitude toward Sinatra’s snaps, saying later that, although he was ankle deep in Life images, “it’s nice to have a horseshoe inside your glove.” Whatever the precise terms, Frank was in.

The Chairman waits for his moment.

Whether for publicity or artistic reasons, Life decided to use five Sinatra images instead of their own, featuring four in an inside article written by Norman Mailer and the coveted cover shot, with byline. A few carpers complained that if the same pictures were taken by Joe Schmoe no one would have given them a second look, which is where the dreaded “lucky shot” dig was first applied, as if a goat with the right camera could have taken as good a picture. No matter. History is written by the winners, and, while Frank Sinatra never saw a gallery exhibition dedicated to his photographic “body of work”, the pictures still stand on their own. And we all go on pretending that luck has no part in our own wondrous art, that there is some mystical power we possess that the unanointed do not.

Meanwhile, I wonder what kind of pictures Streisand might have captured?

HOME SWEET STUDIO

Stained Glass Study One, 3 p.m., April 21, 2020. 1/320 sec., f/8, 24mm, ISO 100.

By MICHAEL PERKINS

FOR PEOPLE WHO OPERATE ON INSTINCT SO MUCH OF THE TIME, photographers certainly can make things unnecessarily complicated. We buy gear we don’t need, thinking that machinery alone will unstick our stuck imaginations. We overthink set-ups. We overthink post-processing. We put a lot of junk in our own path, thinking that more of everything will make better pictures. Maybe it’s a native human need to exercise control. But sometimes, as now, we are all reminded that control can be elusive, or worse yet, a mirage.

Making photographs isn’t about having all the conditions we’d prefer. It’s more about managing the conditions we’ve got. That’s always been the case, although our present Great Hibernation has made it a lot more obvious. Take the idea of a “studio”. The term can conjure visions of vast banks of backdrops, lights, high-end gear…a professional space, if you will. But at bottom, it’s really just a place to work, and, ideally, to exercise choice over technique and intentions. There are really no official tools, no approved physical location for a studio. Like many others, I’ve been recently  reminded that we only need a few things to create one: a knowledge, inside our homes, of where light goes and what it does during the day: the ability to tell time: and a fair bit of awareness of what our camera can and cannot do. If you have these things, you’ve got a studio.

Think through the process: if you have windows, and if you know which way the sun tracks across the sky hour by hour, you already have multiple sites to get different kinds of light depending on your need. One window for harsh midday high-contrast illumination, a dirty one for diffused, etc. As to tools, absent formal studio gear, everything in your house is a potential prop. And then there’s the advantage afforded by all the extra time we find ourselves awash in: that is, the leisure to plan a shot, whether over hours or days. In essence, you’ve got time to tweak like you’ve never tweaked before.

Stained Glass Study Two, 3 p.m., April 25, 2020. 1/200 sec., f/7.1, 24mm, ISO 100

Working within a finite interior space over an extended period, you can really learn its every feature and behavior. For example, I discovered, earlier this week, that a small stained glass window in my guest bathroom casts an intense kaleidoscopic pattern on a reflective counter-top for only fifteen minutes every afternoon. Stumbling on this, I threw a random object into the warm orange glow just to see what kind of permanent image I might eventually want to make with it. I didn’t get back to the room for another three days, by which time I had a rough concept for what I wanted to model the light on. Using the original shot’s shooting data, replicating the exact time of day and exposure settings (and then varying from them) posed no problem, and so I had, in very rudimentary terms, the control normally associated with a “studio”, whatever that word means.

All workspaces are equal once they are maximized and personalized. You don’t need a special locale to make pictures…..or, more to the point, you can make any locale special once you’ve bent it to your will. Right now, we’re trying to bar entry to all invaders from outside, but light will always get a pass. Harness that, and the rest will fall into line.

 

BARRIERS

By MICHAEL PERKINS

OBVIOUSLY, OUR CURRENT DILEMMA ISN’T THE FIRST TIME PHOTOGRAPHERS ACROSS THE WORLD have been fixated on walls. Wars, natural disasters, imprisonment, confinement of any kind present unique challenges of access and opportunity for shooters. Isolation is often the barrier between story and storyteller. If only we could see around, past, under, we could complete our narrative. But the Great Hibernation we are all undergoing at present is a little different. Separating inside from outside is one thing. Separating each of us from all of the rest of us is another kind of isolation altogether.

Our imaginations can fire fantasies about things we can, for the moment, not depict directly. When memory and speculation fail, those of us who are physically hemmed in head for the windows, those finite little tele-screens that open onto at least a portion of the greater world. What are the neighbors up to? Are the blossoms out? Is the mailman coming today? Does the world look, in any way, normal?

No Escape, April 2020

And then there are those windows that open to an airshaft, a blank wall, or alleys ( which are, themselves, windows of another kind). In my house, I  have one such “dead” window, which, normally, is only used as a light filter, as it’s framed in thick louvers designed to let in illumination even as it keeps the midday Arizona heat out. The louvers only come wide open when additional light is needed for a room that acts as a default natural-light studio of sorts. Thus, most of the time, the fact that it delivers a particularly worthless view is simply forgotten.

But a few days ago, I wanted to see that view, to feel it as a metaphor or a link to everyone else for whom being able to see out their windows is, in some ways, worse than confinement. A tease. Information without value. Here in the southwest, many residential homes deliberately hide their side and back yards from view with masonry barriers. We are so wall-oriented that the things really become invisible. We learn not only not to care about what they conceal but about them as concealers. But that’s the way our world typically works.

Somehow, then, maybe out of an attempt at solidarity with all the other stranded wall-gazers in this Weird New World, I wanted to make a picture of what it feels like to look out upon nothing, to have the world walled in, and then walled in beyond that. The fisheye lens allowed me to frame the louvers and the sill in the same image in a way that made the opening narrow even as it was strangely wide. Barriers and photographers make lousy companions. We always want them all down, even they conspire to keep us ever within. Maybe that’s a kind of definition of art.

And maybe I’ve just been in the house too flaming long.

REALITY 2.0

The Angler, April 2020.

By MICHAEL PERKINS

EVEN THOSE OF US WHO HAVE BEEN UNDER QUARANTINE FOR A VERY BRIEF TIME have learned how quickly our concept of “reality” becomes almost abstract. The immediate and local evidence of our senses, our measure of the smaller environments we currently inhabit, become the measure of all actuality, with everything else in the outside world growing less and less concrete. We imagine what the battlefields of the disease look like: we speculate about how much of the greater world has been warped or scarred beyond recognition. But our view of what lies beyond our own four walls can quickly become like a dream. Or a nightmare.

That’s why, even with a fairly regular resurfacing for errants or exercise, the photographer in me can look at things that were formerly almost invisible with new eyes. The formerly commonplace becomes the extraordinary. And because nothing is quite as it was, we are drawn to drastically update our approach to the everyday. In the case of this week’s trip to a local park, I was immediately struck by how normal everything, and everybody, looked. I almost expect the landscape beyond the house to resemble the bombed-out streets of London, during the blitz, and when it looks like, for example, just a park full of people walking, biking, or playing, it’s even more jarring than if the whole thing looked destroyed. I wanted to try to photographically render that feeling of unreality, of being in a dream state.

Papa And Me, April 2020.

I decided to try to shoot these, for lack of a better word, “real” scenes in an unreal fashion, using a Lensbaby Single Glass Optic shot wide open at f/2. Now, with any lens, this huge aperture means a very shallow depth of field, but this particular piece of glass adds its own artifacts. It’s a bit of a time machine, a throwback to the way lenses used to operate for everyone. It’s uncoated, for one thing, meaning that the usual factory treatment that now helps lenses avoid color fringes and flaring are deliberately left off, allowing these “mistakes” to be captured rather than prevented. The lens’ incredible softness is actually a fairly focused image beneath a thick overlay of glow, or what we used to call the “Vaseline” effect. This gauzy look is most pronounced at the edges but adds a very warm look to the entire frame. The pictures made with such a lens are also very high in contrast, with everything registering as either a high or deep, deep color. Details are sacrificed in favor of a hallucinatory, painterly result. And then there’s exposure. Here in sun-abundant Arizona, I had to shoot very fast, almost 1/4000 sec.

Finally, there was a distinctly personal reason for making these pictures in this way, as there always is for any photographer. We try to craft the re-creation of a world we “see”, whether that world is a hopeful or horrible one. And so these pictures represent an article of faith. In the face of the millions of images we are currently seeing of loss, horror, and fear from all around the world, we must remind each other that sacrifice, honor, and, yes, an occasional moment of fun are also “part of the world.” Call it Reality 2.0.

The beta version.

The 35MM SHRINE

The legendary Canon A-1 35mm SLR.

By MICHAEL PERKINS

MY FRIEND PAUL IS GONE, but I am holding a small part of him in my hand.

He passed late last year, adroitly avoiding the current Great Hibernation and all its horrors. By that time, he had survived a hardscrabble farmer’s childhood, the armed forces, half a dozen skin cancer scares (the farm years’ legacy), several strokes, a fused spine, and nearly eighty years of other scrapes which he largely dismissed with a wide smile and a cackle of a laugh. Before the turn of this year, however, he finally met an enemy that was too big to side-step, and now he is gone.

I hold a part of him in my hand because his wife and friends recalled, in the grief-driven process of finding homes for his various possessions, that I liked to make pictures. And so Paul’s camera gear….including lenses, brackets, cases, bigger cases to hold the smaller cases, cleaners, filters and flash units…became mine. I wasn’t chosen for the higher purpose of carrying on his legacy, or even understanding what he did with all this stuff. But it’s mine now. Much of it, I can’t practically use, but absent even one photograph of us together after a seven-year friendship, these gizmos are, now, rather sacred to me.

Annie Liebovitz and other shooters have made entire sub-careers photographing the personal belongings of people, from Emerson to Eleanor Roosevelt, that are themselves beyond the reach of portraits in the classic sense,. The gloves Lincoln wore to Ford’s Theatre. Annie Oakley’s performance costume. Paul’s cameras are like that to me. They can’t resurrect him the way a picture would, but they are talismans that summon a part of his spirit nonetheless.

Paul was an exhaustive student of rock ‘n’ roll, taking his youthful love for that music to a scholarly extreme. He didn’t just worship Buddy Holly:he traveled to Texas and became personal friends with Buddy’s widow, Maria Elena, a relationship that moved her to give him several ultra-rare studio recordings that you’ll never find in any textbook or collection anywhere. He could rattle off the personal histories of every one-hit-wonder in Top 40 history, and, coming from my own background in pop radio, I knew he was dead-bang perfect on every detail. He was also a natural gift for any kind of technical analysis, having worked as a TV repairman in the 1950’s and for IBM back in the punch-card era, and so I can easily imagine him applying that same degree of precision to the making of pictures. The quality and condition of the gear also argues for his orderly mind, as in the case of this pristine Canon A-1, the company’s first-ever SLR with fully automatic exposure, a camera from the 1970’s that is still influencing every element of camera design in the twenty-first century. I may never be able to make pictures with it. But it makes memories for me, even as a 35mm shrine sitting on a shelf.

I often read the user’s manual, and wonder if Paul needed to. After all, he seemed to live his life as if he had already figured out the instructions all by himself. In the end, his brain did all the best kind of work that people usually credit a camera with. That means that even if I never snap a frame with Paul’s camera, he’s already taught me, through his friendship, a vision that transcends gear.

Thanks, pal.

FROM THE GENERAL TO THE SPECIFIC

Better We Shouldn’t Go Out, 2020

By MICHAEL PERKINS

THE GREAT HIBERNATION OF 2020 has done, in the ages of fragmented audiences and unlimited media choices, what prehistoric TV networks used to do all the time…that is, knit the country together with universally shared experiences. Back in the days of three or four channels, we all went through the same big events generally at the same time. Bereft of the time-shifting and endless repeat patterns of our present video age, the narrow range of viewing choices in those days gave people of a certain age a common cultural baseline. We tended to experience one official version of large things, from coronations to assassinations to the first earth orbit to the last episode of The Fugitive (which was watched by 78,000,000 viewers). Now the events that we all experience in real time, together is limited to the Super Bowl and a few nervous election nights. Everything else we view, well, when we choose to view it, if it’s not on a platform that we ignore altogether.

The global virus tragedy has come closer to give us a shared, real-time experience than almost anything else in the lifetime of people under fifty. And yet, through the medium of art and the journeys of our own personal struggles, we are filtering it into our memory in very distinctive ways, taking this titanic problem from the general to the specific. We all begin at the same starting point as the emergency first breaks, and then, we customize the ways we internalize it, with every conceivable form of expression: diaries: drawings: essays: cartoons: memes: movies….

And photographs.

Alone at home, I must comment on the crisis in ways that sustain my own sense of hope. Also in ways that use distance to help me hold onto my reason. Some of that is just my circumstantial lot: I will never be, for example, a photojournalist on the front lines of this battle. I may never even walk the deserted streets that have become the haunting visual signature of the story. Within the confines of my reduced living space, I have little in the way of photographic tools besides my imagination or whatever humor I can muster in the moment. Sometimes, as you see above, I come down on the side of whimsy. Other times things get so heavy I don’t know if I’m capable of making an image that faithfully records that. I guess I’ll find out.

The Great Hibernation has snapped many people of my age back to the memory of other globally shared events from years ago…some tragic and some magic. We are certainly fragmented as compared to those days, but the amazing outpouring of heroism and sacrifice that have marked our reaction to this horror….well, that feels like a bond, anyway. And perhaps the art that we use to chronicle our feelings, even if they are very individual emotions, can occasionally strike a universal chord. It’s worth a try.

THE DEAR (RECENTLY) DEPARTED

Anna Logg’s Greatest Hits, 2020

By MICHAEL PERKINS

REFLECTION TAKES A KIND OF MENTAL TALENT. Others would say that it takes humility. Or wisdom.

But mostly, it takes time.

Looking back is not a speedy process. First, it helps for us to personally advance to the point where certain things are in the past, since the distancing of ourselves from the immediacy of events invites and facilitates our thoughtful analysis of them. Perspective requires distance, a way to separate ourselves from the blindness of our immediate environment. The questions then become obvious: what did all that stuff mean? Which parts of it can I learn from? Does it all deserve to go away?

The process of reflection in photography also waits, if you will, for enough time to pass, allowing the artist to re-evaluate things, to take a second crack at trying to understand them. Once an experience floats far enough away from us, we are free to either appreciate it anew or merely release it as less than essential. The dear departed, once we get far enough away from them, become open to interpretation by many means, the camera among them. Everyday objects can tend to be invisible, because we mainly see only their use. With time, we can often re-visit them, seeing new elements in their design, the context of why they were important in the first place, or other considerations.

Think Andy Warhol’s Campbell’s soup can.

By forcing a conversation about a seemingly banal object, forcing it into “serious” art galleries as an important thing, Warhol made us look at why we consume things, as well as what we would, going forward, consider “art”. Lately, in the age of the Great Hibernation, many photographers are picking through the accumulated stuff of their immediate environment, looking for something from which to craft images. In so doing, we’ll inevitably stumble across things we have forgotten, or simply don’t consider anymore on an everyday basis. Some of these objects have only recently drifted out of the flood of impressions that make up our daily world, like the cassette seen here. How could anything have been more ubiquitous at the height of its popularity? What could be anymore superfluous than it is now? And yet…

Using the camera and our increasing distance from familiar things can free those things from their popular associations. They can become our soup can, sparking some interesting questions. Why did we use this thing? Why did it not last? And now that it is, truly, just a thing, what can we learn about ourselves by looking at it from a new direction? This is not as ridiculous a rainy-day project as it seems. We still visit places whose famous sites are so over-photographed that we have to labor to say anything new about them, to, in effect, make the Eiffel tower our Eiffel tower. The whole idea of re-visualizing dear, recently departed is really part of the same exercise, done one cassette at a time.

WE ARE ALL WAR CORRESPONDENTS NOW

We’re Not Playing Around Here, Phoenix, Arizona, 2020

By MICHAEL PERKINS

I HAVE ALWAYS ARGUED THAT THE PRINCIPLE AIM OF PHOTOGRAPHY is twofold: firstly, to capture what is splendid in the world, celebrating the order of beauty, the majesty of nature, the grand talents of the enterprising soul: and, secondly, to point unflinchingly to what needs correction, to what challenges and threatens us. You can’t have life without both these drives, and you certainly can’t call photography an art if it doesn’t address them equally.

The world is at war at the moment. Our tragedies and losses in this conflict are not incurred by shells and bombs, but by the most primal forces in the natural world. For those who fall before this horror, the results are as final as if they had occurred during a bombardment or battle. The visual ways in which we measure our fear and dislocation are in some ways similar to those seen in regular wars. They are not symbolized by a single, terrible image, but by a million little pictures of very ordinary things, some of which we must put away for awhile as we arm our hearts for what is to come. In this very real way, every one of us that is armed with a camera becomes, in some sense, a war correspondent.

The image seen here is certainly not sinister in the true sense. It’s hard to summon a negative association with playground equipment. But that’s in peacetime.

During times of turmoil, the normal rhythms of life are not yanked away in one clean rip-of-the-bandaid jerk. Rather, they are eroded. Narrowed. You can only do your favorite thing on certain days, at certain hours, and under certain conditions, for the time being. Updates will be posted…

I sat before this scene for several moments before I could unpack why it upset me so. In personal terms, I had walked through the very same park several days prior. Nothing was different now, except…the tape. The word on the tape. And the implied message: this thing that typically gives you joy is now to be avoided. Normal is suspended.

In the short term, there will be many pictures that will break our hearts far more fundamentally than this one ever can. Images that will test our resolve. Touch off volatile emotions. This photo is nothing by comparison to what’s to come. And yet, it is part of the mosaic we are creating during this Great Hibernation (my gentle name for a horrific reality). Each tile in the mosaic is a story of some way that some part of the larger tragedy effected someone among us. I know that I, myself, will create other pictures that are far more jarring than this one. But, as always, it’s the little things that can have the biggest impact. Because when reality shifts, it happens one routine, or one playground, at a time.

A PRIVATE KIND OF TESTIMONY

By MICHAEL PERKINS

What moves me about what’s called “technique”…is that it comes from some mysterious deep place. I mean it can have something to do with the paper and the developer and all that stuff, but it comes mostly from some very deep choices somebody has made that take a long time and keep haunting them.” – Diane Arbus

ONE EVERLASTING ARGUMENT ABOUT PHOTOGRAPHY centers on whether there is any such thing as a “pure” picture…..that is, an image which is merely the recording of reality without the slightest hint of intervention by the photographer. I believe that, in making pictures, we convince ourselves that we have only made a “document” of life, that our own thumbs don’t touch the scale in favor of any kind of bias. But I also believe that, no matter what we tell ourselves about the process, it is impossible for us to retreat to the mere act of punching the shutter button, since even that simple motion has some level of choice inherent in it. The objectivity we believe that we practice is largely an illusion: the impact of our photographs is in direct proportion to just how much we do interfere.

So if just punching the button is at one end of the interference spectrum, then self-portraiture, the age’s dominant obsession, is clear over at the other extreme. In trying to take our own picture, we do nothing but interfere. And stage. And shape. And edit. And perform. Most of this very hands-on approach to immortalizing ourselves is a matter of mere human vanity. We want to come off well. Is my hair all right? Do I look pleasant? Does this make me look too fat/serious/lonely/decisive? In the largely theatrical sphere of selfies, the massage is really the medium.

Have You Seen This?, 2020

But, just because we’ve tried to frame our truth in the most sympathetic light doesn’t mean our self-portraits are automatically untrustworthy. In some very real way, we are trying to reveal something about ourselves that no one else has seen, or in Arbus’ words, to show “very deep choices” we have made “that take a long time” and keep “haunting” us. One of the most personal things about what I call our current Great Hibernation is the care or worry that’s etched on our faces in our unguarded moments, those minutes when we’re not sending along recipes and cheery memes on Facebook, or taking online classes, or catching up on our reading. There are real photographs to be made of the anguish and uncertainty we’re all experiencing, even if they can’t be taken in real time. The self-portrait you see here admittedly involves some acting, as it’s a purposeful re-creation of emotions once truly experienced in full, albeit in isolation. As a consequence, I stipulate that the result is imperfect, even though it may still be “true”. My thought process actually proceeds from an experiment in which, after making this picture, I’d show it to others and ask, “does this look like what you’re feeling right now?” In turn, the responses I got made me wonder if I should ever confess that I was the photographer as well as the subject, since I was afraid that such as admission would, for some, render the picture void, since, after all, aren’t we the worst judge of how we look, or should look, in an image?

But what if we’re not? What if our own knowledge of ourselves is so unique that we are, indeed, qualified to say to the world, I know this isn’t a true “candid”, but so what? Yes, it’s true that, in this photo, I wasn’t “caught unawares”. What you see here is a re-creation of how I felt, and will again feel. Still, who is around in my otherwise quiet house to tell this tale more effectively? Am I disqualified because I am trying to make art out of my own life? Diane Arbus also said that a photograph is a secret about a secret. Perhaps the most important pictures we can make, to plumb our own secrets, is to try to map our anxieties…in the moment, if we can, but as faithfully as we can after the fact, even when they’re re-constructed from memory.

ECHOES OF HOPE

By MICHAEL PERKINS

WHEN DARKNESS LOOMS IN THE HEART OF MAN, THE SIZE OF ANY LIGHT IN THE ROOM IS LARGELY IRRELEVANT. What matters is that someone, anyone, struck a match. The light puts physical limits on the dark. The light points toward escape. The light is the promise of continuation, of survival.

During the present forced hibernation among nations, it’s easy to compare today’s responses to The Latest Troubles with the responses seen in other crises. Everyone is free to make those comparisons, to crowd the air with arguments about who did what, and, once all the discussion abates, having a record of what we’ve tried and learned over the years is the work of art. Art records the dimension of our dislocations, measures the distance between Old and New Normals. Memorials, built by survivors, exist to delineate what happened to us, and, more importantly, what happened next.

Fireside Chat by sculptor George Segal

There are four open-air “rooms” in the FDR Memorial in Washington, D.C., each designed to symbolize one of the separate presidential terms of Franklin Roosevelt, along with references to the specific challenges of those four eras-within-an-era. One such room houses sculptural reminders of how the average person interacted with the White House as it faced the singular challenges of the Great Depression. The figures, by George Segal (1924-2000), are spare, gaunt, haunting. One tableau shows an emaciated farming couple standing with grim determination amidst reminders of the Dust Bowl. Another shows a string of ragged men waiting in line for bread. My favorite figure shows a seated man leaning forward on his knees, his eyes fixed on the small “cathedral” radio set located just inches away. The sculpture is more than a mere tribute to Roosevelt’s encouraging series of “fireside chat” broadcasts, which acted to bolster the frightened nation as banks failed and  privation swept across America like a plague of locusts. It is a snapshot of the relationship between leaders and the led. A bond. A lifeline of trust.

For Segal, who himself spent some of his college years scratching out a living on a chicken farm, and whose personal loss was measured in the Holocaust-related deaths of much of his family, the figures were emotional measures of the space taken up by mere mortals in alternating renderings of both pain and potential, expressed in a bold blend of materials. Covering models’ bodies completely in orthopedic bandages, he removed the hardened shells of plaster and gauze from their human “bearers” to create life-sized hollow spaces in three dimensions, leaving the details of the bandages in full view. In addition to his impactful pieces at the FDR Memorial, his surviving work in this format includes memorials to the gay liberation movement and the victims of Kent State.

Where do we regular shooters come into it? Making photographs of other people’s art from other types of media can range from mere snapshots to a kind of re-interpretation. The eye of the beholder shapes the eye of the camera. In Segal’s work for the FDR, a time so far removed from our own is transported back to anguished relevance. Generations later, we are all still seeking that bond, that link between leader and led. If we achieve it, the souvenirs of earlier days are merely quaint. If we can’t find that connection, however, these Echoes Of Hopes Past become more harrowing in their haunting power.

Because we need to walk toward the light.

Anyone have a match?

WALKING WITH GIANTS

Where You Lead...(March 2020)

By MICHAEL PERKINS

IN TIMES LIKE THESE, OUR EYES HUNGRILY SEEK OUT signs of continuity, proof that, even as many things pass away, other things, essential things, will go on. This desire to see a way for part of today to remain, as a part of tomorrow, is strong in days of crises, and it finds its way into the viewfinders of our cameras. We know, logically, at least, that a bit of the world is always ending. But we emotionally, we long to be assured that something important will remain. And we make pictures accordingly.

Like many, I have recently limited my time “out” to walks in wide open spaces. Six feet of separation and all that. The thing that connects me anew to those that I encounter is my camera, and so I have been shooting almost exclusively with what the commercial market calls a “super zoom”, the perfect tool for people who want to feel close but dare not actually get close. I don’t think of myself as deliberately spying or peeping on people, and much of what I see I reject as being a bit too intimate for sharing. But the general tableaux of everyday humanity comes up again and again, in ways which suggest effective images that do not betray my subject’s privacy, yet convey things that we are all feeling. It’s a tightrope walk, but with care, that very important personal distance can be respected.

In the image you see here, there’s nothing more universal than a mother and daughter walking together, and yet its value in memory, to me, is very specific. I clearly recall the sensation of walking with my father, all five feet nine of him, as a tiny boy, and seeing him as a giant….a mountain of reassuring protection. I stood on his shoulders: I ran between his legs: He swung me like a sling: His arms bore me up and gave me the sensation of flying like Superman. Most important was the pure transmission of happy energy from him to me, his life conducting itself into mine. We were a big candid photo family, and so I have lots of archival data on every part of my childhood, chronicles of years when my young parents grew up side by side with my sister and me and we were absorbed into the best part of them. My parents are 91 and 88 this year, and the current situation forbids my being in even the same half-continent as they, but I carry with me all my Walks With Giants, all the times I was the laughing girl in this image. I hope that she and her mother would not begrudge me the privilege of borrowing their energy and trapping a bit of it inside my box. It’s a life force that, in a larger sense, belongs to us all.

Because some things must go on.

And they will.

FOOTPRINT

By MICHAEL PERKINS

THE LATEST VIRUS-FORCED GLOBAL HIBERNATION, in which we try to wait out a capital “T”-sized terror, has left us alone with a lot of lower-case “T”s as well, that being our accumulated To-Do lists, which, what the hell, since we’re stuck here anyway, we might as well tackle, right? Said lists can contain anything, from repairing a squeaky door hinge to paring down that pile of unanswered junk mail…but, whatever the list’s holdings, the human impulse remains, yeah, well, maybe tomorrow, if I’m not busy.

Even the most severely sequestered amongst us are occasionally allowed out for a walk and a breath of air, and for those who also happen to be photographers, the itch needs regular scratching. But once a huge percentage of our usual haunts are closed for the duration, you must make pictures with whatever subject matter still remains in the rotation. For me, occupying one of the southwest states in the USA, that means heading to the various open spaces and digging the scenery, which sounds like a welcome respite, unless you know me. I wouldn’t exactly say that landscapes and me aren’t on speaking terms, but I would agree that we generally speak different languages. Thing is, when the great outdoors is most of what you’re going to be allowed to make pictures with, you must get your language straight, or give up the ghost. And so, during the worldwide lay-off, I’m communing with nature and hoping something worthwhile seeps into my pictures. It’s not easy for me. It’s more like “to-do” with a vengeance.

From Brown’s Ranch, Scottsdale, Arizona, 2020

Give me a buzzing urban environment, a tableau in which people are scaled and contextualized and do battle with all manner of their own dwellings and creations, and the photographic truths fairly jump out of my camera. I see stories. I sense relationships. I create speculations and divine meanings. But point that same camera at a tree, a mountain, a seashore, and….well, it’s not as if I can’t make something “nice” out of the effort, but I must struggle to pull the truths out. I mean, I can compose and capture the essential beauty of a scene as well as the next guy, but it doesn’t feel like reporting as much as recording. I feel at the mercy of nature’s caprices in a way that I never do in cities. In working with landscapes I sense a division between what’s visually appealing and what’s emotionally compelling. My head can dig the scene but my heart is lagging behind. What’s wrong with me?

All photographers gravitate toward interpretations of the world as they see it, and they likewise grapple with ( or outright avoid) whatever their short suit happens to be. Some shooters are terrified of portraits. Others break out in a rash when forced to calculate arcane lighting schemes. No one gets it all. I marvel at the natural world. I do. I like solitude and silence and contemplation and all that there Thoreau stuff. But after long periods of silent dawns and rolling clouds, I feel an irresistible urge to head for a very loud, mob-crushed subway car. Gershwin once said that certain rhythm patterns came to him when he was clacking over train tracks. Others must go completely Ansel Adams and see the world within the veins of a single leaf. As it happens, our international time-out is occurring just as I have taken possession of a new camera, and so my mindfulness is already at a kind of artificial peak. Perhaps that process, coupled with a forced slow-down out in the wilds, will be enough to get my juices flowing.

Or at least, I’ll get a decent amount of exercise.

Hey, hug enough trees and you can really build up those biceps.

TWAIN TOWN

By MICHAEL PERKINS

Settling Into Shadow, 2019

Reports Of My Death Have Been Greatly Exaggerated.

                                                                                       –Mark Twain

PEOPLE HAVE BEEN PRONOUNCING NEW YORK CITY DEAD since the Dutch first tried to turn the place into a satellite business enterprise and the locals decided, in reverse Cinderella fashion, that those wooden shoes weren’t really a good fit for their feet. In fact, The City That Never Sleeps is kind of like a cat on steroids, endowed with not merely nine but a seemingly infinite number of separate lives, each one built on the ashes of the one that preceded it. Something in New York is always under threat, soon to open on this site, not as good as it used to be, and something that no one’s ever seen before, all at the same time. It is a chorus that, to outsiders, can sound like a cacophony. The locals hear music in the crashing of the garbage cans. To those who don’t get it, the reaction to what Manhattan regards as Business As Usual is often some variation on Oh My God How Can You Live Like This.

It’s no wonder that the camera, any camera at any time, can’t look away.

After all, you blink….you might miss something.

At this writing, March of 2020, the city is curled up into a ball, bracing itself for an impending impact that no one knows how to estimate or pre-measure. By any reasonable guess, the meteor, when it hits, will hurt big, and for a long time. And so I don’t propose a mere “pick yourself up” attitude or cheery bravado as the country looks down the barrel of this cannon. But I also believe that, like Twain’s death, any bets that are taken against New York’s survival will be ill-advised. I am not a native, but over a lifetime, I have spent enough time in New York streets to know that this brash kid is here to stay. You can smash airplanes into our neighborhoods. So what else you got? You can tear up the streets, close our favorite bar, church, or theatre, swaddle the whole place in economic depression, and even flood the subway. Is that your best shot? This isn’t empty bluster: it’s demonstrated fact. Yeah, sure, we’ll dim the lights on Broadway from time to time, but, hey, there’s a new sushi joint opening in Soho next week, y’know?

The proof of what I’m saying is in the photographic record, in the visual poetry of all the Berenice Abbotts and Walker Evanses and Alfred Eisenstadts and Robert Frankses and Diane Arbuses and too many other testimonial eyes to count. If you’ve got a little spare time these days, check out a few. There are even a few occasionally lucky entries from yours truly. And while everyone else in the world has an opinion, good or bad, with or without a camer, about New York, only one vote really counts.

And that’s theirs.

 

THE LUXURY OF WE

Feedback Loop, 2019

By MICHAEL PERKINS

ONE OF THE WAYS WE USE PHOTOGRAPHY TO NAVIGATE through our tricky lives is to use it to sort of mark our personal territory. To leave a trail of bread crumbs about the places we passed on our journey. Pictures stitch together a rough chronology of who we are, who we care about, what we believe is important. And one of the most conspicuous parts of this timeline involves our interactions with each other, and the images that those interactions generate.

Our virtual world, with all its facebookings and instagramations, is but a simulation of the dimensionally deep contact we have with each other in our best moments. It’s a wonderful abbreviation of full human experience, but it is just that: an abbreviation. A synthetic version of real interplay between real people. Photographs, by contrast, are of endless interest to us because they are chronicles of those interplays. A visual record. A testament. As we often say, the camera both reveals and conceals, showing what might have happened, what we wish had happened….and maybe, in lucky moments, a trace of what actually did happen when we met. And talked. And shared. And traded lives, if only for fractions of seconds.

The picture you see here is what, for lack of a more precise term, was a happy accident. It wasn’t planned. Heck, it wasn’t even deliberately framed, being a snap taken from lap level in the second it occurred to me that the two men seen here might be having a moment. An exchange. A life-swapping. Turns out, without really having done much of anything on purpose, I walked away with what I regarded as a story. It doesn’t even bother me that I don’t know the players, or the plot, or the outcome. The story, as seen in the picture, just is. There is a connection between Man A and Man B that lives on in frozen form and it doesn’t require, or even benefit from, a word of explanation from me. It’s something real, even if it’s not something real clear. It’s a record of the Luxury Of We.

As humans, we crave connection. We even settle for social media, which is a sharp step down in true intimacy, just because we want that contact so badly. Me? Give me a real human moment every time. Snapping such special exchanges is more than mere “posting”: it’s witnessing, and that’s a whole other level of experience.

 

WHEN ALFRED MET GEORGIA

Georgia O’Keefe, as photographed by Alfred Stieglitz.

By MICHAEL PERKINS

ALTHOUGH BEING ROMANTICALLY SMITTEN IS NOT A PREREQUISITE for being a great photographic portraitist, I firmly believe that the very best of them are, indeed, lovers…..or at least in love with a mysterious something that informs their work. From treasuring humanity so much that they breathe empathy into their candid street work, or loving an individual in a way that can only be satisfied by turning that someone into an ideal bit of moldable clay, portraitists are a bit possessed, fervently dedicated to showing something only their affection can let them see. It seems perfectly normal now for cameras to fall head over heels over faces. So inevitable, so logical. And yet the camera and the face had to have their own early days of courtship.

One of the earliest and most fascinating muses in photographic history was herself an artist, a soul so amazingly unchained and boundless that the natural, if perverse, reaction to it was to try to imprison it inside a box. The face of the painter Georgia O’Keefe (1887-1986) was not classically beautiful, but upon meeting her in 1916 at an exhibition, the pioneering photographer Alfred Stieglitz (1864-1946), a man whose enthusiasm helped to launch dozens of art careers beyond his own, was knocked cold. After years as the promoter of the Pictorialist movement and editor of the revolutionary art publication Camera Work, Stieglitz had, in his own estimation, become disconnected from his own photographic instincts. Stuck, if you will. O’Keefe, twenty-three years his junior, and as close to the embodiment of the phrase “free spirit” as you can imagine, unstuck him. Between 1917 and 1937, often as a sidebar to their famously torrid relationship, Alfred made over one hundred portraits of her, posing her in every setting, mood, and level of intimacy. Many of the images were nudes or partial nudes, but all of them were Stieglitz’ attempt to hone his own style to its purist form, to see O’Keefe as the ultimate object and subject. Writing to a friend, he described the opportunity and the challenge Georgia had brought to his work:

I am at last photographing again. . . . It is straight. No tricks of any kind.—No humbug.—No sentimentalism.—Not old nor new.—It is so sharp that you can see the pores in a face—& yet it is abstract. . . . It is a series of about 100 pictures of one person—heads & ears—toes—hands—torsos—It is the doing of something I had in mind for very many years.

Stieglitz also promoted O’Keefe’s own art in shows at his legendary 291 gallery and in a mixed show of photographers and painters entitled Seven Americans. Some of his most intimate portraits of O’Keefe were exhibited at the time as well, often with no attribution as to the name of the subject. Over the years, Alfred and Georgia’s relationship was as uneven as it was ardent, with Stieglitz having an affair after they were married, only to later see O’Keefe have a dalliance with the very same person several years later. Eventually, the combined tensions of their competing careers, issues of fidelity, and their gravitation to very different geographic art destinations (O’Keefe’s New Mexican desert versus Alfred’s beloved Manhattan) spelled the end for the marriage. Eventually, in history’s typical pattern, it is the art, rather than the artist, that survives.

And what Stieglitz had shown, early on in the 20th century, was what photographs created by a person possessed might look like, what portraits that were ignited by the heart might aspire to. I relate to this idea strongly in the case of my own work, which has been informed and often expanded by having my wife for a muse. In learning all the facets of her face, I in turn learn more about the secrets behind all other faces. I understand the spark that snapped when Alfred met Georgia, and I look for those fabulous fireworks every time I myself snap a shutter.

 

LOOKING AT THE LOOKERS

Scanning The Skies, 2020

By MICHAEL PERKINS

THE RISE OF PHOTOGRAPHY IN THE NINETEENTH CENTURY empowered artists to chronicle events in documentary fashion for the first time in human history. And as miraculous a change as that worked (and is still working) on the world, one can still have fun pondering what that power might have allowed us to show, had it been granted us years earlier. Imagine being able to map the daily progress of the great pyramids, or to report on Hannibal’s crossing of the Alps. I have my personal “what if” list of what I’d love to have seen through a camera, and you no doubt could compile one of your own, if you haven’t already.

Since the craft of making pictures centers so much on human quests, it also lends itself readily to the study of human motivation. We can picture what we are looking for, but we can also trace the emotions that play over our faces as we set out on our explorations. And that’s, of course, how photojournalism has developed over the years. We don’t merely snap the planting of the flag, so to speak, but also the anxiety and near-misses that preceded that triumph, as mapped on the faces of those who embark on the journey. Photo essayists have documented great achievements that, as a sidebar, are also triptychs through the human mind, giving us the procedural steps of the first heart transplants and the terse emotions on the faces of the surgical crew. The two parts of the story each suffer if they are not paired in the narrative.

I don’t typically find myself in the company of globe-trotting explorers, but, when I am with people who are working toward any goal, such as the patient birdwatchers at left, I try to spend just as much time studying their process as what they actually produce. Sure, the main objective is to snap the Vermillion Flycatcher, but, to me, the other part of the job is looking at the lookers, telling the story of the search. The quarry may actually escape, but the quester’s journey is a tale in itself, maybe even a better one.

So, in my retelling of the history of photography, a history in which we are actually present with a Leica when Caesar first rides into Gaul, the preferred part of the assignment for me would be to get a look at the great man himself in the act of conquering not only the foe but, perhaps, himself. We like to think that we use our cameras to tell the truth, but without examining why people choose to do great things, and capturing those desires as well as their deeds, we can miss a vital part of the story.

OTHER EYES, OTHER WINDOWS

By MICHAEL PERKINS

MOST OF THE FORMAL TRAINING IN PHOTOGRAPHIC PORTRAITURE rightly emphasizes the eyes, those so-called “windows of the soul”, and it’s hard to argue with their weight as indicators of the inner mind. But, in reality, every facial feature can be eloquent in conveying that which comprises the individual: love, fear, hate, happiness…whatever mix of outward cues that connote personality in a photograph. And it’s also true that, generally speaking, one’s face is a more reliable identifier of traits than, say, an arm or an ankle. However, portraits are loaded with information that occurs from the neck down as well, and a good deal of it can be mined for solid indicators of just who it is we’re looking at. And while we concede that most of us would never deliberately cut the top off a subject in everyday practice, (as seen here) doing so, at least for this exercise, illustrates just how much data can be left to work with when we, in a sense, lose our head.

Habit, 2019

Clothing, regalia, body language, even something as basic as color…all these come ripe with codes about the life of the individual under consideration, and can be as valuable in portraiture as the face itself. Now, the idea of recommending that you re-examine your favorite portraits without considering their facial information is not to convince you to choose someone’s suit or hand over their face, but to increase our consciousness of what besides the face can amplify and deepen our sense of the people we photograph. I have seen many images where the depth of field was so narrow that, from the eyes outward, most of the face is largely softened, with everything else outside that narrow radius so blurred as to yield virtually no information. And, yes, that approach works wonderfully in many instances. Still, I am the very last person to propose any ironclad rule that always works or never works, since I believe that absolutes have no place in art. Every case must be considered separately.

So long as people are much more than merely their faces, I believe that everyone who works in portraiture should cultivate the habit of looking at every subject as a unique mix of elements, resulting in a range of pictures where sometimes the face is everything, or is sometimes just a thing among others, and occasionally is of no importance at all. The eyes may be a vary reliable window to the soul, but there are always other kinds of eyes, other kinds of windows.

 

THE GUESSING GAME

The Boat Date, 2020

By MICHAEL PERKINS

STREET PHOTOGRAPHY IS, AT BEST, a frustratingly imprecise method of, well, eavesdropping. In such unplanned documentary images, the photographer is cast as a kind of sneak-thief, bent upon prying into the unguarded moments of an unsuspecting quarry. But unlike the practice of listening at the keyhole, of course, unposed pix provide no sound, no dialogue to accompany the streetie’s stolen views, and so the resulting pictures often conceal as much as they reveal about What Is Going On Here. We see, but we don’t discern. At least, not solely on what is shown.

Of course, that is the delicious element of the process of street. We supply the missing pieces of the puzzle, assigning our own “meaning” to what we think we have seen. Line up a handful of viewers to interpret a photographed interaction between people and note the incredible variety of “answers” or “solutions” to the image. Part of the allure of photography is that we think as much about what a photo doesn’t show as what it does. In some ways, it’s like the relationship moviegoers had with silent film. Certainly the title cards provided the essential story points or pivotal bits of dialogue, but we also had our minds to conjure what those longing glances, those missing voices, those unseen details were really all about. And so, even in an art form in which we prize the miracle of preserving moments unmoored from time, we agree, along with our audiences, that these moments are incomplete, that, in fact, the finishing of them, in our eyes, is part of the wonder, part of the art.

And so perhaps the best street photographs are special not so much for what they show, but for how successfully they spark that urge within us to know more. Our speculations and guesses, are, in the absence of important information, as valid or “true” as anyone else’s take on the thing. That again demonstrates that photography is a creative process for both taker and viewer. It’s a cooperative enterprise, a divine guessing game with no final resolution: a circle.

WIDE x HIGH x ACCIDENT

Brooklyn From Fulton Street, 2018. A faux pano cropped from a really large 24mm landscape master frame.

By MICHAEL PERKINS

I MAY NOT BE PHOTOGRAPHER ENOUGH TO FOOL THE HUMAN EYE, but on a good day, I can apparently con Photos for Mac. I know this because I caught the program using its own “logic” to arrange images into categories for which, truly, they don’t qualify. One such category is “panoramas”, a folder which Photos has chocked with pictures that were not made either with a true panoramic camera or a stitch-up phone app, but merely by cropping larger shots. The thing is, such clipped art work as panoramas because of what they ask of the viewer’s eye.

The original shot has too much unneeded visual information.

Most of my landscapes, in town or out in the country, are shot with a 24mm f/2.8 wide-angle, which is my go-to for urban work. It adds little in the way of barrel distortion if you aim it right, and allows for very inclusive framing when you’re in cramped quarters (lower Manhattan, I’m talking to you). It’s also as sharp as a diamond, and so, at its sweet spot of efficiency (around f/5.6) it’s a snap to focus manually. It’s a sophisticated lens that performs almost as easily as a point-and-shoot, and even though landscapes shot with it will result in a lot of excess detail, this one lens will do nearly 100% of what I need on an average day. And since there’ll often be way too much info in the landscapes, a-cropping I will go.

Panos are often tiresome because there simply aren’t a lot of linear subjects that are uniformly fascinating from left-to-right. I mean, if you’re bent on having all of General Grant’s 103rd regiment muster up in front of you, or if you’re trying to drink in all the delicious detail along the Cote D’Azur, it can be worth the extra effort. But this is me confessing that most of the shots that my Mac calls “panos” depict decisions made after the shutter snap, and only then because most of the useful visual info in the shot turned out to be linear in nature. I don’t intentionally head out of a morning to “do a pano”, and, in making landscape shots with other objectives in mind, I often don’t see, in the moment, the super-wide image lurking within the greater one. But on days when the camera gods are in a good mood, you find that, even in paring away half of your original, you’ve actually rescued something workable inside your master frame.

In the two examples seen here, the contrast is fairly obvious. The human activity, the line of the boats and, beyond, the skyline of the Brooklyn shore seem to be primarily inviting the eye into a left-to-right reading of the image, whereas crowding the frame with extraneous structures, more boardwalk lumber, or extra sky really saps the picture of any impact it might potentially have, and so, out come the scissors. I also believe that giving the eye more stuff to process means it will do some of it badly. Just as a portrait is usually made more effective by framing its subject mid-waist to head only, so do landscapes often benefit from cutting off their top and bottom thirds, depending on the image. I’m not one of those faux purists who believe you’ve “cheated” by cropping a picture after it’s made. I believe that resizing the frame is part of the making, albeit a part that takes place after the click.

So, yes, my trusty wide-angle is, in most cases, also my trusty makeshift pano lens. I’ve done the same thing with fisheyes, cropping them to highlight the super-wide center of a shot to the exclusion of the extreme bends at the edges. In many such cases, I am trending toward carrying less and less glass with me and getting more and more flexibility out of what I do take along, a development applauded by my aging neck and shoulders. It may be true that you need to suffer to be beautiful, but in the name of a healthy spine, I’m going to keep testing that theory.

 

%d bloggers like this: