By MICHAEL PERKINS
ON JANUARY 13, 2009, BARACK OBAMA, a man of many firsts both personal and political, created a benchmark in the history of photography as well, becoming the first President of the United States to have his official portrait created with a digital camera. Data nerds will note that the exposure was made with Pete Souza’s Canon EOS 5D Mark II camera without flash and settings of 1/125 sec., f/10, ISO 100, and 105mm. In the interval between that time and this, the break with analog film-based photography seems both natural and inevitable, and so the shot has one key thing in common with the very first presidential portrait, in that it was taken using the most advanced technology of its time, changing forever the way we thought of “official” records of the Chief Executive.
One hundred and sixty-six years prior, in 1843, John Quincy Adams, some fifteen years after the end of his presidency, sat for what, today, is the oldest surviving original photographic portrait of an American president. The term original, when speaking of early photographs, must be given a bit of additional context. The process known as daguerreotype was, at the time of Adams’ sitting at Philip Haas’ Washington studio, only four years old. Each photograph was printed directly on glass plates, and were therefore one-of-a-kind images in the truest sense, as no means for printing copies of photos would exist until the creation of negative film by George Eastman nearly half a century later. The fragility of daguerrotypes added to the special quality afforded them as keepsakes in the nineteenth century, as they were quite literally irreplaceable. And then there was the arduous process of getting a usable exposure made in the first place. In President Adams’ diary of the day, he remarked that, upon arriving for his appointment, he found
“...Horace Everett [U.S. Congressman from Vermont’s third district] there for the same purpose of being facsimiled. Haas took him once, and then with his consent took me three times, the second of which he said was very good—for the operation is delicate: subject to many imperceptible accidents, and fails at least twice out of three times.”
Full disclosure: In fact, the very first presidential portrait was taken of the spectacularly unlucky William Henry Harrison, the first president to die in office just one month after taking the oath, likely due to complications of pneumonia brought on by failing to dress warmly enough during inclement Inauguration Day ceremonies. Indeed, a photographic portrait was made of Harrison on March 4, 1841, mere days before he fell ill. However, the original of the image is said to be lost, surviving only in copies, while the Adams image, now on display at the National Portrait Gallery, is the very same glass-plate photo taken two years later by Haas. Adams probably deserves the distinction of hanging in the NPG for an additional reason, in that he was one of the primary forces behind the creation of the Smithsonian Institution, of which the Portrait Galley is a subsidiary.
Like Barack Obama, Adams had additional historical mileposts attached to his fame as a photographic subject. Serving in the House of Representatives for many years following his presidency, he was the last living tie to the Founding Fathers, one of the men who, as they sing in Hamilton, was “in the room where it happened”. Photography was lauded, at its birth, as one of the proudest achievements of the Industrial Revolution, but many feared that it might be a merely mechanical medium, devoid of the soul of painted portraiture. And yet, since its very beginnings, it has not only performed a purely reportorial function, but has also anchored us to all ages in a most un-machinelike fashion, preserving the essences of our humanity and allowing us to sing Hail to many a Chief.
By MICHAEL PERKINS
ALONG WITH EVERYONE ELSE FROZEN IN PLACE BY 2020’s GREAT HIBERNATION, I’ve found myself riffing through my video collection in search of long-form diversion. In recent weeks, as New York struggled to emerge from the first massive crush of horror borne by the virus tragedy, I was seeking a kind of Manhattan-flavored comfort food, and unearthed my old copy of Ric (brother of Ken) Burns’ epic documentary on the history of the island from the time of the Dutch settlers to the final days of 1999. After 9/11, feeling that something incredibly important had been left unsaid, Ric went back into production on an eighth and final chapter,The Center Of The World, which told the detailed history of the specific lower Manhattan neighborhoods of “Ground Zero” as they existed before the attack, and concluding with a post-script on what was, at the time, the first stirrings of rebirth at the site. Re-watching this for the first time in years sent me into an archive of another kind: my own still images from roughly the same time frame.
Marian and I made our first pilgrimage to the site in 2011, right after access was opened to the memorial pools that were fashioned from the remains of the foundations of the twin towers of the original World Trade Center. The first replacement structure was not completely clad in glass at that time (see left), and entry to the area was by means of a ton of secured cyclone fencing and very long lines. Signs promised a yet-to-be-built memorial. Almost everything else in the rebirthing of the site was likewise still on the drawing board. The empty space across the street from the old 90 Church Street post office (which is the beige building in the middle of the lower image) would eventually become the great winged Oculus, the new entry point for the rebuilt PATH terminal and underground connector to various new business and retail complexes, themselves also under construction at the time. Barely ten years after a searing scar had been burned into the Manhattan streets and hearts, resurrection was already well under way. That’s New York, a city which would have been well served to steal its motto from the book title by Jesse Ventura, I Ain’t Got Time To Bleed.
The idea of rebirth is with me a lot these days, informing either the personal, immediate pictures I make in quarantine or the visual stories I’m hungry to find whenever it’s safe to venture out. I’m not an official chronicler of this mess, but I know we’ll create a vast and very human archive from all this misery. Like all things in life, it will pass, and we will creatively struggle with ways to mark the passage. To take measure of our own scar tissue, and the corrective surgery we will undergo to make the scars less obvious. In the meantime, even the pictures we make while isolated are important ones. See how long my hair got? Oh, sure, that was the home office we improvised. Yeah, this was my favorite window to look out: it kept me anchored.
Photographs are as remote or as personal as we determine them to be, but, even at their most introspective, they will say something about the human condition in general. This is how I got through. And maybe it’s similar to how you did it. There will be remembrance, but there will be no lingering over smoking ruins. We ain’t got time to bleed. Woodrow Wilson once compared the relatively new art of motion pictures to “teaching history by lightning”. That’s the pace now. We move rapidly from the role of mourners to the role of builders. And we will etch the resulting lightning inside our cameras, to simply state, we passed this way.
By MICHAEL PERKINS
ULYSSES S. GRANT HAS BEEN REMEMBERED AS A MAN OF SEVERAL “FIRSTS”. He has been called the first practitioner of “modern” warfare, utilizing methods that rendered the courtly style of his Confederate foes obsolete. He also was the first American president to pen a purely military autobiography. History students can probably agree on other career distinctions. But in watching the recent excellent History Channel miniseries on his life (based on the book by Ron Chernow, author of Alexander Hamilton), it becomes clear that the eighteenth president was also the first to have nearly his entire adult life documented in photographs. In a print world still dominated by illustrations and engravings, Grant was captured on glass plates over three hundred times in the space of about twenty years, twice as often as such luminaries as Abraham Lincoln and Mark Twain. In point of fact, Ulysses S. Grant was the most photographed man in the world over the span of the entire nineteenth century.
At a time when most people lived out their lives without posing for even a single portrait, Grant endured dozens of formal “sittings”, caught as well in photojournalist snaps by Matthew Brady’s roving band of Civil War photographers, who pictured him poring over maps, sitting in tent-side conferences with other officers, conferring with his president in both the field and the capitol, attending that same president’s funeral, welcoming visitors to his own White House, resting with family on his front porch. Consider: being photographed in the 1800’s was, for a time, an occasion, a privilege, maybe even an accident. Certainly, Grant was not the first president to have his picture “made”, but the sheer volume of views of him across his public life was a quantum leap from our visual sense of any public figure up to that time. Chernow’s book (and the miniseries) both reckon with the incredible explosion in notoriety wrought by Grant’s roles as both the general who won the war and the president who tried to preside over the peace. And while some of the incredible trove of photo images of Grant can be accounted for by breakthroughs in the technical growth and expansion of photography during his lifetime, the astonishing bulk of it can only be attributed to the fact that Grant was an international celebrity, one of the first in the Industrial Age.
WIthout his realizing it, Ulysses Grant had come along in one of those transformational transition periods in history in which our established way of viewing things is undergoing a convulsion toward something completely different. Photography, in his time, was slowly re-negotiating our relationship to our leaders. They ceased to operate at a distance or as abstractions. They now had features, dimensions, traits brought to us in a new kind of intimacy that only the camera could create. And as films and lenses improved, the stiff formality of a sitting portrait gave way to images of a much more spontaneous, candid nature. The image seen here (which I love) is itself a transitional one. Grant had to remain still long enough for the still-slow exposure times of the Brady corps’ devices, but already he has to remain at attention for a much shorter span that he might have in a studio just a few years prior. The most important element of the pose, however, is a kind of tell about Grant’s priorities. His face seems to say, take the picture already…I’ve got more important things to do.
First paparazzi prez? Hardly. But over the term of his public life, Ulysses Grant may be the first president to be, almost, our public property, a “person of interest” in purely visual terms. As now, sitting (or standing, or running) for a portrait is no guarantee that the truth will make it through the lens. But there are certain times in the history of photography where a pivot point is glowingly obvious, and the weary resignation in Grant’s face is a kind of seismograph of what was to come, for good or ill, for all of us.
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….
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.
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.
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.
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?
By MICHAEL PERKINS
Reports Of My Death Have Been Greatly Exaggerated.
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.
By MICHAEL PERKINS
HISTORY DOES NOT HAPPEN WITHIN THE STORMY SURGE OF A CROWD, but with the quiet, agonized turning of individual hearts. One heart at a time, that’s how the world is turned…..or overturned.
Protests and demonstrations are a natural magnet for photographers. They appeal to the journalist in all of us, as street photography meets street theatre in a roiling mix that maybe, just, maybe will allow us to trap history inside our magical boxes. Thing is, certain surface elements of marches and public gatherings are dismayingly uniform: the sea of signs, the crush of bodies, the speaker’s rostrum….and masses of angry/jubilant faces. Photographers realize that world-changing events are really about faces, more than any other visual element. We look for features that record the raw essence of those events: pity, fear, exhilaration, relief, anger. Finding the right face within a mass gathering is the toughest assignment for anyone hoping to use a camera to record the over-large mash-up of sensations within a movement. A solid wall of people with signs isn’t the real story: what brought individuals to the site is the only message that can be trusted. You must fan past the mass of noise to find the quiet at the center.
You need not pick a side in a struggle to record what it costs people to invest their energy in having picked one themselves. The woman seen here, standing near an improvised speaker’s platform, may never have seen herself as a force to change the world. She is not triumphant: she is not a bomb-hurler: she doesn’t share in the giddy me-tooism of youth: she may actually wish she were somewhere else, even as something has told her she must be only here, right now. The parade/protest will rage on in big waves of zeal, but her emotion, at least in this moment, is not one of celebration. She is not having a good time. But written in her apprehension is something universal, eternal.
The human race seems, age after age, to be in search of the same basic things. The drama in our lives is defined by the path we choose to reach those things. And all of our quests force their way up into our features. Our faces betray what path we’re on, and why. There is no wisdom in the mob, unless it is in the wisdom of one face after another, all of whom, on the same day, strangely found themselves standing in the same spot.
By MICHAEL PERKINS
FEW WOULD DISPUTE THE IDEA that photography forever changed the way we see. However, I also believe it has altered the way we recall. The process of accessing our memories as a reference point for our thoughts and feelings was complex even before the invention of the camera. But add the seemingly “trustworthy” or “authentic” records of things interpreted by photography, though, and the sorting of memory becomes an even greater muddle. Do we remember, or do we recognize, through the inheritance of masses of images, how someone else remembered?
Through the camera, we can confuse our actual sensory experiences of things with the trove of pictures which formed our “versions” of them beyond what we ourselves have lived. Many more of us have viewed photos of the Eiffel Tower than have actually gazed upon it. When we do first encounter a “known” thing in person, one of our first reactions is often that it “isn’t how I pictured it”……that is, our collective photographic “memory” doesn’t match authentic experience.
As photographers, we are trying to see things originally even as we hack our way through the inherited gallery of images of those things that are an unavoidable element of our visual legacy from other photographers. It is damned difficult to develop our own eye, since the after-image of everyone else’s take is always present in our consciousness.
I shot the image shown here in 2011, during a typical package tour of the Statue of Liberty and Ellis Island. Part of the circuit was a brief shuttle ride to Ellis on a boat that afforded a long, wide view of lower Manhattan. I shot the picture quite unconsciously, which is to say, oh look at that cool view. Later, in combing through the day’s shoot, I saw something else in the scene, something that connected me to photographs taken generations before me: Alfred Stieglitz’ poignant scenes of newly-arrived immigrants in steerage: grainy silent newsreels of crowded ferries passing the Statue, their passengers’ faces etched with a mixture of terror, longing and joy. Suddenly my own picture was no longer about a pleasure cruise for tourists. It was my chance to take in the same view millions had seen before me: the first glimpse of The Promised Land. The New Start. The Second Chance. And for many, Life Itself.
I had already underexposed the shot somewhat to emphasize the skyline, but the picture still contained too many distracting features on the faces of the passengers. I adjusted the exposure even more and saturated the color to further create the look of a low-light, slow film stock. Their particulars muted, my tourists now replicated the “look” of all those earlier arrivals, the ones I had inherited from other people’s experiences. Had I reached a kind of communion with those millions? Could I be adding my own story to theirs?
Even though I was traveling in the same waters as the people in the archival pictures had traveled, I wasn’t them. As a native-born American, I didn’t face the terrifying pass/fail that they had as they approached our front porch. I wouldn’t come this close, see a life beckoning just beyond that window, and yet be sent back because my eye looked odd to the doctors or my papers were not in order. I found this picture again the other day. I think I have to live inside it for a while. I may not have shot it with the eye of someone new to this country, but the inherited images of lives past have asked me, in my own limited way, to bear witness to the fact that, at some time, we have, all of us, been The Other. I really don’t want to forget that.
By MICHAEL PERKINS
AS A PHOTOGRAPHER, IT SEEMS TO ME that a municipality only qualifies as a “real” city when it becomes nearly impossible to visually identify its beginnings. Neighborhoods may begin as unified civic signatures with coherent visual styles, but let fire, war, hard times or earthquakes add their input, and those same streets start to look like jigsaws with the pieces chosen from different puzzles. It’s a nightmare for urban planners but a treasure trove for the camera.
As they age, cities become visual collision points between good intentions and unintended consequences, with parts of one era being grafted onto fragments from another. Absent a bomb or natural disaster, few streets are completely destroyed by time, just evolved into a crazy-quilt jumble of bygone trends, deaths, and rebirths.
This image shows a typical block in Los Angeles’ Koreatown district, with residential, retail and undefined space co-existing in a single building, following the general rule for the neighborhood that everything should be re-purposed and then re-re-purposed pretty much forever. Things get old. Things break. Ownerships and administrations change. Priorities shift. Some parts of buildings disappear, others are re-imagined, still others are absorbed into other visions.
This urban recycling has real benefits. As an area with the densest population concentration in all of Los Angeles county, there is no space in Koreatown to waste, and thus many priceless remnants of the Art Deco movement which might have fallen to the wrecking ball in other sectors of L.A. were saved and re-used when the neighborhood transitioned from an entertainment district to a residential and commercial area in the 1960’s. Like most of the city at large, Koreatown’s streets are living exhibits, laboratories involving all of the different “Los Angeleses” that have existed throughout the last century. And as with “real” cities in general, part of the new way for the various Koreatown’s is always marbled with what Paul McCartney calls “my ever-present past”. creating unique photographic opportunities in the process. Essentially, cameras were born to bear witness to this amazing cross between architecture and archaeology, this irreconcilable argument between competing jigsaw puzzles. It’s part of the Big Picture we all seek.
By MICHAEL PERKINS
THE COASTAL OREGON TOWN OF DEPOE BAY (pop. 1,398) advertises itself as “the world’s smallest harbor”. They might have saved themselves the cost of a sign. Everything about this little strip of gristle along U.S.101 suggests small, conveying the unmistakable feeling that you are Miles From This, A Further Piece Up The Road From That, or On The Way To Elsewhere. This place right here, though, is not much more than craggy connection tissue between other places, places that have substantially more going on.
But then there is that coastline, most of it seen in five minute out-of-the-car stretches by passersby who follow the signs for the Whale Watching Center. The decidedly no-nonsense concrete slab that houses said center sits atop a pile of blackened, stony scab that boasts but one break in its protective sea wall, a narrow channel that admits just one boat at a time (tourist charter local fishing skiff, or Coast Guard cutter) from the “harbor” across the street, a small collection of crafts most towns would label a “marina”. This traffic flow is regulated by the outcome of the daily conundrum, will there be whales, or, more accurately, will whales, or anything else, be visible beyond a hundred yards?
And yet, even swallowed up in soupy fog, the snaky fingers of which close upon the coast like grasping, ghostly fingers balling into a fist, Depoe Bay could make Melville’s Ishmael himself pine for the open sea. Paradoxically, it reveals all and conceals all at the same moment. It’s a portal to departures, an end point to journeys, a portent, a welcome, a warning…..and an irresistible itch that only a camera seems able to scratch.
Coastal towns like Depoe can subsist on their four blocks of bar-laden business district, their single low-power oldies radio station, their preciously tacky gift shoppes, the gallons of chowder dispensed each day. But the real show is the one that won’t stay still, the one that is equal parts miracle and menace, doldrum and dream. With it, the Depoe Bays of the world maintain their tenuous spots on the map. Without it, all poetry vanishes in a bank of mist.
By MICHAEL PERKINS
THE DEMIMONDE. The night shift. The third trick. Up with the dawn. Done for the night.
At any given time, some of us are starting our days and heading to work while others are wrapping up their labors and stumbling into bed. Our nights are others’ days, our bustle others’ quiet time. We come at life on the planet from different directions, our suns and moons meeting at the time clock. Wait till coffee break, say some. That’s when things really get going. Hang around till after midnight, say the rest. That’s when this place really start to happen.
Time really comes unmoored in the cities, where our deliveries, destinies and dreams are on all kinds of stop/start cycles. The big town is as photographically alive for the night owls as for the morning glories. People whose days are other people’s nights are forever exotic and strange to each other, the images of their routines as mutually mysterious as the extremes of heat and cold. And always, the same underlying drum beat: got things to do. No day or night, pal: things get done when they get done.
The camera never sleeps because we never close. Open seven days a week, open all night. Last train at midnight, early bird special, full price after six, in by 9, out by 5. Rules of engagement for the breakfast surge, the lunch rush, the dinner crowd. Lives in motion. Pistons rising and falling. Disharmony and sweet accord.
The shutters keep blinking. The moments keep rolling.
By MICHAEL PERKINS
THERE HAVE DEFINITELY BEEN TIMES IN MY LIFE when I have actually craved the special kind of loneliness that Arizona has in abundance. This is a place where brain-boggling chasms of space can exist between society and desolation, between boom and bust. The contrast is stark with a capital, well, stark. If you want to get lost, I mean good and lost, like vanished-off-the-freaking-map lost, Arizona’s vast, starched plains and heat-blasted mesquite are your solution. Other times there is such a sharp edge between lots of something and all kinds of nothing that you can almost feel despair chewing around the edges of your contentment like a termite on a bender.
Photographically, you can either celebrate Arizona’s chest-thumping pride in the survival of the individual or lament the sense of isolation underscored by its lunar landscapes….or both. An image that thrills one person with a sensation of unfettered freedom can make another individual feel like the state has abandoned him or her by the side of a dusty road to no place.
In the case of the above image, it could go either way. The buildings here do not constitute the entire business district of downtown Cottonwood, Arizona, but they’re damned close. One thing that’s absolutely true is that there isn’t much on either side of the town’s main stem that feels…town–like. Yes, the municipality has a few small supporting streets, peppered with a smattering of residences and small shops, but Cottonwood is essentially a brief, linear dash in the middle of an endless paragraph about emptiness. To some shooters, (sometimes me) this is an enlistment poster for personal liberty, with the land always having the last say in any discussion. For others (again, sometimes me), it’s a reminder that, in a face-off between man and the West, the West has a decided, even unfair edge. Showing both of these stories within a single picture, however, isn’t necessarily a conflict in terms.
Photography addresses extremes, and often in a frustratingly ambiguous fashion. But show me an art where that doesn’t happen.
By MICHAEL PERKINS
LIKE MANY TOWNS in the American southwest, Superior, Arizona sprung up in the nineteenth century primarily to get people close to something promising that Nature had already parked in the local dirt. So long as that something gushed up, flashed in a prospector’s pan or helped light or heat something, the towns flourished….. boomed, as the term goes.
Until they didn’t.
In the case of Superior (2010 census population 2,837), the silver that anchored the locals to the grim crags of the Superstitions mountain range tumbled in value when the metal lost its status as the backing for the American dollar in 1893. Fortunately, Superior had a second act, rebounding with the discovery of copper in the same area where silver had been mined. And then, of course, Hollywood came calling, seeking a visual taste of the Real Old West. Superior rose yet again, standing in for yesteryear in the films How The West Was Won, Blind Justice, and The Gauntlet, among many others. And the beat goes on; as recently as the 1990’s, yet another copper mining company hooked Superior up to yet one more source of life support. And how’s your hometown?
Even so, a photographer looking to take Superior’s pulse in the twenty-teens is well advised to look a little deeper than the shopworn storefronts of the main street, heavy with thrift shops and antique stores but also alive with hot pastels and the twang of Saturday afternoon dance music, complete with Stetsons and cold longnecks. The town is rusty and dusty down to its toenails, pressed up against gritty stone peaks, but it is still brave at the corners of its mouth. As a place that is “a fur piece” from Phoenix and a hoot and a holler from Globe, Superior is more mile marker than actual destination, but it is still standing, still smiling for the camera.
And, who knows, things could change.
They always have before….
By MICHAEL PERKINS
THE BUILDING YOU SEE HERE may not, on first glance, match your sensory memory of what a “public library” is supposed to look like. However, step into this amazing complex on West Georgia Street in Vancouver and you will certainly see, from every angle of its curvy vastness, the public….buzzing away at research, cozying next to comfy reads in cafes, tucked away in private warrens of study and solitude.
One of photography’s functions is to chronicle the public space that mankind creates, and how it occupies that space. And visually, there can be no greater illustration of the changes in how that space is defined than in the architectural evolution of public libraries. More than mere warehouses for books, libraries were the first common gathering places in our young republic, no less important than legislatures or marketplaces. Indeed, we built many libraries to be brick and mortar celebrations of learning, grand, soaring temples to thought, arrayed in oak clusters, dizzying vaults, sprawling staircases, and mottoes of the masters, wrought in alabaster and marble. To see these spaces today is to feel the aspiration, the ambitious reach inside every volume within the stacks of these palaces.
The library, in the twenty-first century, is an institution struggling to find its next best iteration, as books share the search for knowledge with a buffet of competing platforms. That evolution of purpose is now spelled out in new kinds of public space, and the photographer is charged with witnessing their birth, just as he witnessed the digging of the subways or the upward surge of the skyscraper. New paths to fortune are being erected within the provocative wings of our New Libraries. Their shapes may seem foreign, but their aim is familiar: to create a haven for the mind and a shelter for the heart.
There are legends to be written here, and some of them will be written with light…..
By MICHAEL PERKINS
THE “U.S.A.” OF THE EARLY NINETEENTH CENTURY was, in every way, a collection of separate and unconnected “Americas”. Cities were fewer in number, and the ones that did exist were hermetically sealed off from each other, each in their own orbits in a way that would end when telegraph wires and railroad tracks annihilated distance on the continent forever. At one end of the 1800’s, each town and village was its own distinct universe; at the other end, it was only one of many dots on a line chain-linking the nation as one entity.
In the 21st century, there is only spotty evidence of the days when your town was, in a very real way, the predominant version of “the world” to you. The terms of survival were so very different. “In town” and “out of town” were measured in blocks, not miles. There was a pronounced sense of “how we do things around here”. Local accents were a clearer stamp of identity. News from outer regions arrived slowly. People’s lives impacted each other directly. And the towns first canvassed by photographers reflected the isolation of one city from another, for good or ill.
My parents met each other in a town that started small and stayed that way. It’s contracted now, the way a grape shrinks to a raisin; there is still enough of its old essence to identify what it was, but no hope for a future that resembles the past in any remote manner. I love making photographs of places in America where the feeling of apartness is still palpable. It is harder to be hidden away now. We are all one coast-to-coast nervous system, with impulses crossing the void in nanoseconds. The places which still say “our town” are often baffled off from other towns by raw geography….the mountains someone forgot to cross, the rivers no one wanted to ford. And, in the towns walled off by those last remaining barriers, as in this view of Truckee, California in the Sierras, there are still stories to be told, and images to be captured.
I was struck in this picture by how close the residential and business parts of town were to each other, long before we all started spreading out and, well, getting away from each other. It creates a longing in me for something I can’t fully experience, and a desire to use my camera to come as close as I can.
By MICHAEL PERKINS
NO TWO ARTISTS view the human condition of solitude in quite the same way. In photography, there are scores of shades between alone and lonely, between the peace of private reflection and the terror of banishment, shades which define their images as everything from comforting to terrifying. Thoreau hangs out solo in the woods and finds fulfillment. Hansel and Gretel, stranded in the forest, feel only dread.
The argument might be made that modern society at large fears solitude, that there is nothing more horrific than being alone left with one’s self. And, if that is your viewpoint, then that will eventually be reflected in how you depict people in isolation. Conversely, if you see “being apart” as an opportunity for self-discovery, then your photographs will show that, as well. You can’t “sit out” commenting on a fundamental part of the human condition. Some part of your own outlook will be stamped onto your photography.
That’s not to say that you can’t shade your “alone” work with layers of mystery, even some playfulness. Is the young woman shown here glad to be away from the crowd, or does she feel banished? Is her physical attitude one of relaxation or despair? The photographer need not spell everything out in bold strokes, and can even conspire to trick or confound the viewer as to his true feelings.
To make things even trickier, images can also convey the feeling of being alone in a crowd, lonely in a crushing multitude. That’s when the pictures get really complicated. With any luck, that is.
By MICHAEL PERKINS
THE MORE INDEPENDENCE DAYS that I mark as an American, the more the holiday is fine-tuned, for me, from one of pure celebration to one of sober reflection. As a child, I waved my little flag, oohed and ahhed at fireworks, and ran up the scores of all our national wins and points of pride. As a middle-aged man, I think of the USA as a wonderful, but incomplete “to-do” list. I cherish what we’ve been but also try to be mindful of what we need to be. And that, in turn, widens my concept of what an Independence Day photograph can look like.
The above image, taken within the solemn sanctum of the 9/11 memorial, may not be many people’s choice for a “Happy 4th” -type picture, for a whole bunch of reasons. And I get that. There’s nothing celebratory about it. No wins, no rousing anthems. No amber waves of grain. That doesn’t mean, however, that it’s inappropriate. It may not rhapsodize about victory, but it does affirm survival. It doesn’t brag about what we have, but it does remind us of how much we stand to lose, if we take it easy, or take our eye off the ball.
The 9/11 site is unique in all the world in that it is battlefield, burial ground, transportation hub, commercial center, and museum all in one, a nexus of conflicting agendas, motives and memories. And while it’s a lot more enjoyable smiling at a snapshot of a kid with a sparkler than making pictures of the most severe tests of our national resilience, photography taken at the locations of our greatest trials are a celebration of sorts. Such pictures demonstrate that it’s the freedom we earn, as well as the freedom we inherit, that’s worth raising a cheer about.
And worth capturing inside a camera.
By MICHAEL PERKINS
WHETHER THERE IS CONSENSUS ABOUT THE PRESENT OR FUTURE STATE OF THE NATURAL WORLD, we are certainly in the midst of the most muscular conversation about its fate than many of us have ever known. That means that we are changing and challenging our relationship to the globe almost daily…and, along with that relationship, the way that we see, and visually report upon it. That generates a new emphasis on bearing witness to what the planet is/can be/ might be.
I call it the new era of testimony.
The birth of photography coincided with the first great surge of cross-continental expansion in America, as well as an explosion in invention and mechanization. The new system for making a physical record of the world was immediately placed into service to help quantify the scope of the nation…to measure its mountains, track its rivers, count its standing armies. Photographers like Timothy Sullivan and William Henry Jackson lugged their cameras east-to-west alongside geological surveys, railroad agents, and the emerging naturalist movement. While some shooters chose to capture the creation of new trestle bridges, others helped poets illustrate their Walden-esque reveries. In all cases, photography was tasked with the job of showing the natural world and our interaction with it. Most importantly, the images that survive those times are a visual seismograph on both the grand and grotesque choices we made. They are testimony.
And now is a time of radical re-evaluation of what that interaction should look like. That means that there is a visual story to tell, one of the most compelling and vital that photography has ever told. Regardless of your personal stances or stats, man’s place on the planet will be in a state of fundamental shift over the coming decades. And the images that this change generates will define both photography as an art and ourselves as stewards of an increasingly fragile ecology.
Ansel Adams, for all his gorgeously orchestrated vistas, was, I believe, mistaken in almost deliberately subtracting people from his grand scenes, as if they were irrelevant smudges on nature’s work. It doesn’t have to be that way. We need not make war on our native world. But whatever we do, we need to use the camera to mark the roads down which we have chosen to walk. Whether chronicling wise or foolish decisions, the photograph must be used to testify, to either glorify or condemn our choices going forward.
By MICHAEL PERKINS
URBAN ENVIRONMENTS ARE MEAT GRINDERS, greedily chomping maws that mulch and mash humans into manageable shapes and sizes, compacting lives into spaces too small for the average burrowing rabbit and crushing a few millions dreams in the process. And the endless flow of stories that result from this struggle, for photographers, show Man trying to steer clear of the maw, or at least salvage a few limbs as he does battle with it.
Life in cities is about small words with big import. Safety. Shelter. Privacy. Relief. Escape. Dreams. Prayers.
Photographic sagas in cities begin and end with the demarcation of personal boundaries. Over here, this is mine. Over there, yours. This is how I identify the mineness. With decorations. With ritual. With color, context, property. I live in the city, but I say on what terms. Cross this line and the city ends. And I begin.
The story of how people in cities define their personal space is a tremendous drama, and, often, a fabulous comedy as well. In the above photo, taken across the endless track of backyard spaces in a Brooklyn neighborhood, space is, obviously, at a premium. But it’s how I fill it that defines me. The little crush of chairs and tables is not so much a patio as it is a healthy exercise in self-delusion.
My little slice of heaven.
Next year, I might get a barbecue.
When the Drifters sang of cities in Carole King’s amazing song, “Up On The Roof”, every city dweller already knew the words. I leave all that rat-race noise down in the street. And every person who walks cities with a camera knows how to identify, and bear witness to, all those little rooves. Or patios. Or pink porchlights.
People need their space, and photographers will always be on hand to show exactly what they came up with.
Just picture it.