the photoshooter's journey from taking to making

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SNAPS FROM THE STONE AGE

By MICHAEL PERKINS

YOU GET NO ARGUMENT FROM ME if you make the claim that photographic portraits are lies. I can’t see how they could be anything else.

Well, maybe the word lie is too negatively loaded, so let’s use faulty. Faulty works because both subject and photographer are up to some little games, conscious or no, once the camera comes out. They pose. We enhance. They edit out unwanted emotions. We choose the “real” image from several “failed” frames. Most importantly, we influence the results with either an overabundance of knowledge, and bias, regarding the subject, or with the opposite….a completely raw ignorance of who, really, is in front of our lenses. This is the natural subjectivity that we bring to photographing anything, and it is by putting our individual interpretation on it that we get something we call “art”.

At this writing, a storm is raging over what constitutes an appropriate portrait subject in a medium that far predates the camera…stone. Statues are the snapshots of the ancients, and, because of the human factor involved in their sculpting, they are as biased and distorted as anything that comes through a modern lens. Either the sculptors were commissioned by people who had a point to make, or else they themselves decided to make said point. These honorific slabs are idealizations, no less than a heavily Photoshopped portrait of a cute infant. No one ever set out to create a statue that made the subject appear weak, or hateful, or anything less than glorious, and such a baseline bias means the results will be skewed, from the figure’s rippling muscles to his chiseled jaw to his resolute gaze to the way he sits a horse. For good or ill, a statue is an artistic attempt to create perfection out of a mix of fact, legend and marble.

The National Statuary Hall in Washington D.C. “Should I Stay Or Should I Go…?”

Problem is, once the real person who inspires a sculpture vanishes from the earth, the statue becomes the only record of him, flawed or not. In the age of photography, we can do some comparison shopping when formulating our concept of, well anyone. Picture “A” makes him look happy, but he was drunk when we snapped Picture “B”, he was morose in Picture “C” and, hey, Picture ‘D” is really gorgeous isn’t it? We can, in the present day, get a visual average of what someone is like, even though all of the many pictures of them may also contain false information. But statues are different. Their single view of a person’s life encourages us to learn less, to accept the official version of that person, to see History’s rough edges rounded off. Statues outlast context and when new context is applied to them, we may find we don’t actually like them very much….or that they remind us of something in ourselves that we don’t like, or both.

The National Statuary Hall, seen here, is inside the U.S. Capitol building and contains two figures from each of the fifty states. Google a listing of the statues and ask yourself which ones you personally would nominate for demolition. Maybe they all pass muster throughout the shifting centuries. Maybe some will, or deserve to, fall. But what makes any portrait live or wither is context, and anyone deciding what art is “unacceptable” must also become a diligent student of that context. We constantly create untrustworthy images with our cameras, and we think we know how those faces will hold up before future audiences. But time has a way of making us all look foolish, perhaps rightly so. What’s required in all cases is distance, balance, and humility.

 


LOOK, UP IN THE SKY!

By MICHAEL PERKINS

IN ONE SENSE, THE GLOBAL LOCKDOWN OF 2020 has created the biggest simultaneously experienced event outside of a world war. The advertising slogans are right: we really are in this altogether. On the other hand (thinking purely like a photographer), the way we all go through this is often solitary, hidden from mass view. Many of our struggles are not waged in the public eye, which is where so many amazing images are born. Instead, we are living with a mass event without the mass reactions.

And so, yes, I miss crowds. Audiences. Throngs. Multitudes cheering, crying, yearning, celebrating. Because photographs of those instantaneous, shared emotions are, in themselves, deeply affecting, sometimes more so than whatever the crowd is actually reacting to. A static picture of a guy cranking a bat around to send a homer over the back fence is one thing, while the backdrop of amazed thousands seeing him do so takes the photo to a completely different level. Certainly, we all crave solitude, as a measure of what is most personally affecting or shaping us, and photographs borne of those feelings are undeniably poignant. But in this time of general-suffering-individually-contained, we are robbed of the pictures that actually show us all being in it together. Consider the opening to the old 1950’s Superman series. It’s not that a guy is flying right over your head: it’s that you’re in a crowded street full of people all having your minds blown simultaneously. Look! Up in the sky……

Stormbreak, Hollywood, 2014

The aftermath of a rainstorm over the Hollywood Hill, seen here, would have been gorgeous all by itself. But what makes me love this picture most is the fact that everyone gathered here (actually visitors to Griffith Observatory, which points the opposite direction, and packs its own killer view, of downtown L.A.) has been struck by the same wonder at the same time. We are all, for a few moments, one person. For just a few seconds, nothing is as important as what we’re seeing and feeling, together.

There will be a time, again, when images will be made of us all emerging from this shadow, all blinking our collective eyes at the strange sensation of walking back into the sunlight. And yes, there will, in the anxious interim, be news footage of us cramming like crazed ants into beach bars or partying heedlessly in crowded streets. But that brief surge of manic novelty won’t be the real picture. The real picture will occur when honest cameras register the genuine joy of not just getting back out but getting back to each other, and pointing skyward to ask, “is that a bird? A plane…?”


A MILITIA OF MILLIONS

By MICHAEL PERKINS

THERE WERE NO CAMERAS IN THE WORLD when America fought the first war on its soil, leaving mostly paintings of generals on horseback as a visual chronicle of the struggle. Now, in our latest war, also on our soil, there are millions of images created each day that strive to comprise a pictorial narrative of the unfolding tragedy. But more is not necessarily more: when the final battle has been fought, there will still be oceans of pictures missing from the saga, stories still left untold.

Perhaps it’s the nature of this very strange conflict, fought not against combatants with rifles but against Nature itself, which makes the pictures come so hard. Now, there is no visible demarcation between soldier and civilian: there is no designated field of combat, but thousands of little ones, many of the clashes and outcomes unseen, the casualties themselves vaporized in a fog of grief. And yet we struggle for any kind of visual measurement, some yardstick by which to measure our pain. The task may be beyond the power of any camera, at least any of which we’re aware.

Boston, 2016

I’ve been searching over the past few days through my own stacks for the above image, because, being of a revolutionary-era churchyard in Boston, the markers shown are literally those among the first to fall in that earliest of American wars. Given that the inscriptions on the tablets have been almost totally effaced by time and the elements, I consider these monuments symbolic of the strangely imposed information blackout we are all under regarding today’s citizen soldiers, many of whom vanish from our mist without formal lists, monuments, or in all too many cases, even a human goodbye. Like the data once stored on these blank slates, our true talIy of sorrow has been edited, censored by fate.

I feel that, in the year 2020, the meaning of Memorial Day has been unalterably changed for me, and for everyone in our dread new militia of millions. Many of the fallen were not drafted, nor did they volunteer, and yet they have been conscripted by destiny in a way that is fully consistent with those whom we normally honor on this day. Many may never be inscribed on a monument that our children may visit on a school field trip: their faces will, in many cases, escape our cameras. Many more will never be interred with a flourish of folded flags or the reassuring regimen of military pomp. Still, over the coming years, watching ourselves and other survivors remember the fallen may inspire us to create new kinds of images, scenes that we can scarecely dream of at present. As with those headstones from our first days of passage, we need to retain what symbols we can of what we have lost, seeking in time to fill in the rest, to develop the remainder of the picture.


INVISIBILITIES

By MICHAEL PERKINS

ONE THING THAT GUARANTEES VIRTUALLY INFINITE VARIETY AMONG PHOTOGRAPHERS is that, not only do we all see most things completely differently, we also vary wildly on what it is important to see. Turn ten photographers loose on the same subject and the results might just as well have been shot on different planets. Our individual brains seems to rank things in the world by how “view-essential” they are, or how worthy they are of our notice. This renders somethings that are vital to me nearly invisible to you.

We’ve all experienced the strange feeling of looking at images taken by someone else of a place that we have both visited at the same time, and seeing things that we could swear were never there. Who put that fountain near the plaza? Wasn’t the mountain to the left? Our mind is selectively failing to see some of the very same information that is obviously available to it, making our own work with cameras subject to selective invisibilities.

Lost Connections, Portland, Oregon, 2018.

What renders something important enough for us to actively acknowledge it? Can some things become so common, so ubiquitous in our lives that we no longer see them? In the case of the vintage cabinets shown here: what, in our daily lives, could have been more commonplace, more taken for granted, than a bank of public telephone booths? How could these structures have been more widespread than they once were, in railway stations, courthouses, department stores, bus terminals, and a million other gathering places? And would that commonality have placed them somewhat below our radar, visually speaking? Now turn that on its head: what could be more noticeable than when this everyday object is rendered obsolete, its purpose vanished in a blink of technology? Will that thing now be more visible, or completely vanished, and for whom?

I bring this up to unstick us from the tired idea that “everything’s already been photographed”, that, for the camera, there is nothing new under the sun. In reality, were we to start shooting images of all the things we have, for one reason or another, failed to see all our lives, we would find poetry and plenty in what we think of as “nothing”. Many things that are “here” go unseen simply because we will not see them, and many things that are “gone” remain because we will.


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?


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.


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.

 


FRESH OUT OF THE OVEN

Winged Wonder, 2019

By MICHAEL PERKINS

PUBLIC STRUCTURES CAN BECOME THE MOST OVER-PHOTOGRAPHED objects on the planet, especially if they strike people as personally symbolic. As visual icons of status, history, empire, and other human yearnings, our buildings and gathering places can flood the world market with images, as everyone does their “take” on things that have already been explored beyond human imagination. Eventually, saying something new about these places can be a challenge, since all the obvious renditions of it have themselves become iconic. That is to say, the predominant way most people have photographed a thing becomes, itself, the “official” way of looking at it.

Aloft, 2019

This problem exists less with new or emerging destinations, places that are not as yet pre-imagined into “correct” photographic interpretations. Such sites are, if you will, fresh out of the oven. Be one of the first hundred million or so to “discover” a special place, and you may just have a chance of looking at it in an original way, before the prevailing version becomes carved in stone. Take two iconic sectors of Manhattan as an example. One has to really, really strain to make a new image of the Empire State Building, and so many of us just shoot our copy of the expected view. Head down to Ground Zero, however, and it seems much easier to do a lot more, imagination-wise, with something like the Oculus, the space-erific replacement for the PATH terminal that was destroyed on 9/11. Its contours still surprise. Its overall design intention is still a matter of personal conjecture. It has not yet become either universally beloved or universally despised.

Art thrives in areas where, conceptually, we haven’t truly made up our minds…where the jury’s still out. Photographing something in an influential vacuum….that is, uninfluenced by all the others who have discovered the subject before you…is difficult. Both the glorious and the notorious attract shooters like a summer porch light does moths, and soon, what I call the “postcard average” version of a thing emerges, and is cemented into place. At that point the photographer who wants to mine something new out of the subject has to be prepared to dig deep, to undercut expectations. But when we measure the impact of a thing with our own eyes, rather than just recording our agreement with the popular view, then the mob stops being in charge inside our heads. Then we can actually see.


FLYING STANDBY

Flight suit A7-LB, worn in 1972 on the Apollo program’s mission 16 by Admiral Ken Mattingly.

By MICHAEL PERKINS

ASTRONAUT KEN MATTINGLY, ALONG WITH MILLIONS OF AMERICANS IN 1970, never caught the measles. But on April 8th of that year, doctors at NASA were convinced that he might, and that educated guess was all it took to scrub him from the Apollo 13 mission, a mere three days from launch. But, even in the exacting skill universe of space flight, “not this time” doesn’t always mean “never”.

Fans of Ron Howard’s cinematic re-telling of 13’s ill-fated trip to the moon have long since learned of Ken’s essential role in helping to bring the crew and their mangled craft home safely back to Earth. But his story didn’t merely end with that amazing save. Just two years later, Mattingly would notch his own slot in NASA history, piloting the lunar orbiter module for Apollo 16, the program’s second-to-last moon expedition, maintaining his unique observational perch for a record-breaking 64 lunar orbits, a trek comprising over 81 hours of solo spaceflight.

Photographs are largely taken by direct witnesses to events, with space exploration being a notable exception. All of the images we have digested of various extra-terrestrial explorations over the last seventy years are, at most, second-hand visual experiences for most of us. We weren’t, in the popular phrase from Hamilton, In The Room (or module) Where It Happened, nor did we walk On The Surface Where It Happened. The pictures we know of these epic journeys were created and curated by a select minority, inviting us to share their experience even as the images designed to assist us actually serve to prevent our doing that. It is only now, as the various gear and apparel of these modern odysseys are consigned to museums and archives, that we can even take direct pictures of the objects that once made history. And while that can never be quite connective enough, it is at least a chance for us, as photographers, to interpret, to do our take on things we only know through various historical filters.

For Ken Mattingly, now a retired Navy rear admiral, the journey from witness to participant went from abstract to concrete. For photographers, the same transition is sometimes possible. Often, however, it is the souvenirs of history, rather than history itself, that we are able to examine, making us archaeologists even in our own time. We often must be satisfied at flying standby on the big rides.


WHAT A LONG, STRANGE (ROAD) TRIP

Arizona Bloomberg Campaign Office Rollout, February 1, 2020.

By MICHAEL PERKINS

THE STRANGE RITUAL BY WHICH WE HAVE BEEN INTRODUCED to political candidates has been forged alongside our inherited habits of chronicling life with cameras. The select corps of reporters that is technically tasked with capturing the “official” look and feel of a campaign actually accomplishes no such thing. In the era of ubiquitous personal recording devices, the impressions that can be conveyed of a politician’s viability are finally as varied as the number of people in their desired audiences. All impressions matter, and at the same time, none of them matter. We are all in charge of our own lenses, and  our own truth.

Wherever you rate a candidate on a scale of uncool to cool (and how you, in turn, envision his or her “electability” with your camera) is naturally linked to everything you subjectively experience when in contact with that person (or his entourage). Was the hall air-conditioned? Was the free food any good? Was there easy parking at the rally? Did you stand next to someone obnoxious during the speech. And, as to the speech, was it erudite or homespun? Concise or long-winded? Was the sound system working? Had you already heard that same stump speech too many other times? Did he/she look older/thinner/taller than on tv? And then there are the exact same in-the-moment technical challenges of a “live shoot” that the professional network crews are contending with, from lighting to composition to that idiot in front of you who blocked your million-dollar shot with his campaign sign. The whole situation is, in its own way, as dynamic, moment to moment, as covering a sports competition. That is to say, not easy.

Ironically, the thing about shooting political events that is most problematic is the shooter himself, since we, as either passive or active voters, have already brought our biases and hopes to the rallies, linking them in series with our lenses and optics just as surely as if they were color filters. We begin our “coverage” from an established viewpoint, completely obviating the idea of objectivity. And that’s not necessarily a bad thing: to be able to take a shot you are also able to control a shot, and if you can’t bring your own take to something as personal as a political contest, then it’s not worth even lifting your camera to your eye.

Since photography is all about selection, i.e., the extraction and suspension of specific particles of time, it stands to reason that an image which makes a politician look godlike in one moment can make him look like a drooling idiot the next. We are all subject to the shaping of reality achieved by skillful use of the camera. Once we experience it in our own work, that knowledge may help us be better consumers of the images made from outside our own viewpoints, and calculated to persuade, reveal, or conceal.


WORK UNIFORMS

For all of us everywhere, every day is dress-up day.

By MICHAEL PERKINS

STREET PHOTOGRAPHERS LEARN EARLY THAT THE WORLD’S VAST ARRAY OF FACES comprises only part of the ongoing pageant of human behavior. Certainly our features afford the most obvious clues to our inner mind (or serve to artfully obscure it), but it’s only part of the story, a story we complete by constructing the work uniform of our daily costume.

Just as comic-book and sci-fi fans lovingly recreate the armor and cape details of their favorite comic-book heroes in “cosplay”, we too piece together a kind of costume in the assembly of our everyday apparel. We don’t just don shirts and trousers, hats and coats: we actually craft a total outward identity for ourselves, an outfit that we think correctly projects who we are. Some work uniforms are as plain as a nun’s habit, while others scream as loudly as a Catwoman leotard. We make dozens of decisions about dozens of details. This makes me look old. This makes me look too fat. This gives off an attitude. This is a good look for me. That’s the just the accent I needed. This will turn heads.

This will protect me from detection.

Our street garb is creative work for people who don’t especially see themselves as artists, even as they turn themselves into living, walking canvasses. And the combination of our faces, with their twin abilities to reveal or conceal, with the outer layers we’ve pieced together to advertise ourselves, is, artistically speaking, an original. The person who begins at the mirror each morning and ends in the street as a deliberate concoction is unique, in that all of the individual components involved in the assembly will not look exactly the same on any other person. Shakespeare’s maxim that “all the world’s a stage” and that all of us are “merely players” holds across the centuries. We are our own invention, clad in creations that are part armor, part stagecraft. What a harvest for the photographer, who, among other contrasts of light and shadow, is also measuring the contrast between what we hope to be and what we appear to be. Every day on the street is shopping day for a shooter. The game, the play, the masquerade is always afoot, and when we witness it all with a trained eye, we wind up enrolled in a master class on both drama and tragedy.


DRESS REHEARSALS AND OPENING NIGHTS

Soon On This Site, 2019

By MICHAEL PERKINS

GREAT CITIES ARE NOT MUSEUMS, statically basking in their greatness as if showing off a finished product. Metropolises are as organic as the flesh and blood creatures they host, identified by their own signature breathing rhythms, seasons, vital signs. They are always in the process of becoming.

No city displays that work-in-progress ethos better than New York. It is always in dress rehearsal, while meanwhile always staging an opening night. Both the wrecking ball and the ribbon-cutting scissors are always ticking and tocking back and forth, opposite extremes of the same pendulum swing. It’s a constant thump/rest/thump/rest drum beat that, like its namesake, never sleeps. And that adds a stunning opportunity for showing contrasts in any kind of street photography.

NYC declares daily winners and losers, and since both its Newsmakers and the Yesterday’s News folks live cheek by jowl, images taken on Manhattan streets are almost guaranteed to show that juxtaposition. In the above image, the glitter of Times Square, easily the brassiest sector of the city, can easily be framed up alongside the ubiquitous “pipe” scaffolding that attends a million different renovations and remodels throughout the town. The city’s ongoing motto might well be, “hey we’re working on it”, as the undying American hunger for the new conducts a daily road race against eventual obsolescence. Photography is, primarily, built upon contrast, placing an infinite number of bright surfaces against an infinite number of darker ones, in intersections of light and shadow that define sharpness and focus. It seems proper, then, for the camera’s subject matter to define things through the comparison of opposites.

Of course, you needn’t live in Gotham to see such contrasts or to arrange them for maximum commentary effect in your images. The messages are everywhere, since it’s our essential diversity which makes photographs worth taking in the first place. As long as there is a palpable difference between this thing and that thing, compelling pictures will result. Everywhere, in every town, it’s always dress rehearsal, always opening night.


BOTH ENDS OF THE GIG

Master pickers Miles Gilderdale and Greg Carmichael of Acoustic Alchemy enjoy a post-shot brew at the autograph table, 2019.

By MICHAEL PERKINS

I REMEMBER WHAT A MAD MIX OF SKILL AND DUMB LUCK IT TOOK ME to score any usable concert images in the glory days of film photography, which has been one reason why, for both economic and mental health reasons, I tended not to attempt them too often. I have known several people over the decades who simply kill at such work, and their abilities leave me as stunned as a caveman who has just discovered fire. Such people are masters of light, wizards of journalism, and maybe, just maybe, unofficial auxiliary members of the bands they cover. They’re that linked in.

Many years and many technological advances later, one of the barriers to my becoming a great concert shooter has vanished, in that, in the digital era,  I can at least afford to try a lot of things without putting my wallet on the endangered species list. And perhaps that fact has, in turn, also safeguarded my mental health as well. ‘Cuz, since I can now shoot, and shoot, and shoot, I can flail away until I actually produce something worth the effort, improving my overall demeanor and putting me once again in harmony with cute puppies, adorable babies, and unicorns. Of course, I have expanded my play area in recent years to include more offstage/backstage images, not only because they are technically easier to control, but because they contain something that stage performances may not: that is, unguarded, candid moments, or the exact opposite energy seen during a concert.

As a case in point: many current artists are making a bigger percentage of their touring “take” from on-site music sales than in earlier eras, and so the good old autograph table experience frequently offers the occasional relaxed moment. It doesn’t have the same drama as a classic shot of a guitar god shredding his way to immortality, but it almost counts as street photography, depending on what kind of energy you’re trying to capture. I myself enjoy the greater freedom to grab more of the miracle moments in a show, but I also find it liberating to work both ends of the gig.


CITY (AND LIFE) LIMITS

Violet Cemetery, Pickerington, Ohio, 2019

By MICHAEL PERKINS

THERE ARE STILL PLACES ACROSS AMERICA where all the needs of life seem to be concentrated into very compact spaces. Small towns where the eating places, the living places, working places, worshiping places and dying places are all within a few blocks of each other, all of them viewable, knowable to everyone, all the time. The unchecked sprawl of modern life has left such villages behind, so isolated that they may as well be contained within a snow globe, their functions blended together like a box of inter-melted crayons. In such towns, photographs of a very different nature can be made.

The idea of a local main street moving seamlessly from the business section to residential houses to graveyards to a children’s playground now runs counter to the way we plan things. In little cities all functions orbit each other tightly, like animals sharing the same watering hole. Maybe some of these burgs were, originally, just that….replenishment stops, a place to change horses, grab a meal before heading back onto the trail, a collection point for outlying farms or ranches. In terms of the images that can be created in these out-of-the-way places, they are chronicles of a different kind of rhythm. They simply have to result in different kinds of pictures.

In traveling through such towns, I invariably stop at local churchyards. In a strange way, by containing the remains of our all too temporary shells, the yards themselves achieve a kind of permanence. Things go there and stay there. No one digs up a cemetery to build a supermarket. Its space remains apart, freed even more of the constraints of time than the towns which they occupy. And here, in the aftermath of the greatest interruptions we can ever face, there is order. A grave is just one more thing that falls to the human need to organize. To make sense of it all. We lay out parcels with a certain arbitrary logic. Grandpa is in section 3-A, while the mayor and his family are in 4-D, and so forth. Churches in such towns taper off into the sky with stiff steeples, and brick and marble perpetuate the illusion that everything in the area, in some way, lasts. In terms of technique for these oddly reassuring patches of quiet, I often will play around with selective focus, since that dreamy half-state seems to align with my interior dialogue. Our pasts are as strange in their own way as our presents, and the standard rules for picture-making are vaporous, like ghosts.

Small towns are often liberally dotted with antique stores, as if objects themselves have need of a graveyard, a place to be collected beyond anyone’s needs or desires. The way we say farewell to things is often impossible to measure visually, but we carry cameras along wherever we go, because, well, you never know. When life’s various elements slip away there is often nothing to mark their passage. And yet sometimes there is just a little. And sometimes we can see it. And steal it. And hoard it.


SNAPSHOT NATION

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By MICHAEL PERKINS

FOR SEVERAL YEARS NOW, my final Normal Eye post before Christmas has been dedicated to the unique place occupied in the American holiday season by the Eastman Kodak Company, which not only sold most of us our first cameras near the dawn of the twentieth century, but taught us how to use them, all the better for increased film sales. Indeed, no sooner had Kodak placed simple Brownie box cameras in our hands than they began generating educational guides like How To Make Good Pictures, a book which remained in print with various revisions for over sixty years. But that was only half of the sales pitch.

The other half came in the dawning field of mass advertising, as Kodak became one of the most omnipresent features of the new illustrated magazines, creating luxurious reminders of how handy your Kodak would come in during your upcoming birthday, camping trip, or, most importantly, Christmas. Much of the company’s ad budget went into their annual yuletide messages, which, from year to year, introduced new models along with a visual depiction of happy people enriching their lives by taking lots and lots of pictures on Kodak film. Since The Normal Eye is more about the intention, rather than the technology, of photography, I made an annual habit of rifling through my own mental hoard of Kodak-tinged holiday memories. I remember the gadgets, for sure, but I mostly longed for the lives of the people in the ads. I wanted their Christmases and birthdays. I wanted to be welcomed into a room filled with their smiling faces, the joy of youth, the comfort of community. In short, I bought the whole package.

The most effective advertising promises you more than a consumer product: it sells you an experience, a state of mind. A transformation that, by an amazing coincidence only the seller’s product can deliver. Buy this, and you’ll be this, you’ll be here, you’ll be with…..whoever. The Kodak advertising campaigns sold a lot of camera and film for sure, but the message worked because it sold us the sensation of being other places, with other people, maybe as some other better version of ourselves. We dreamed of Christmases that never were, families that could never be. We associated making pictures with creating something better than the mere world. But in that process of becoming lifelong consumers of photographic equipment, a few of us learned that our cameras really could capture something just a little better, a little more joyous, than reality. It was a fable, certainly, but it was a warm and wonderful one.

It’s hard to connect the hollowed-out husk that Kodak has become in recent years to the titanic influencer it was in the 1900’s. The company forged our first photographic habits and channeled our dreams by first giving us a reason to want a camera, then showing it what it was for. Later on, most of us re-defined those rules of engagement in appropriately personal ways, deciding what to see and what to show. But before you can become a chef you first have to discover fire, or have it shown to you. And each fire begins with a spark.

Or the click of a shutter.


ON STAGE/OFF STAGE

By MICHAEL PERKINS

All the world’s a stage, and all the men and women merely players.    ——William Shakespeare, As You Like It

And though she feels as if she’s in a play….she is, anyway….                ——Lennon & McCartney, Penny Lane

Jolly Coppers On Parade, San Francisco, 2019.

 

THE NATURE OF STREET PHOTOGRAPHY IS THE AWARENESS THAT WE ARE ALL PERFORMERS, that, from sunrise to sunset we are carrying out roles, parts played to move society along or smooth our own way within it. The most obvious symbols of performance….masks, costumes, a proscenium…these are all artifacts of the stage, and are but a small part of the dramas and comedies awaiting the attentive eye of the photographer, most of them outside the physical limits of the theatre.

We assume parts that convey ritual, occupations, celebration, even our rank within our communities. We divide our years into seasons and our seasons into roles, marks on the calendar that also define how we will dress ourselves, the codes of behavior we will observe, and the slogans and symbols we use to commune with all the other players. Thus, in street photography, we train our eyes to spot the beginnings, middles and endings of these “scenes”, to see performances in nearly every aspect of life. Some of us are destined to go for the laugh, while others seemed fated for tragedy. We invent insignia, uniforms, jargon, procedures for playing our parts, like the policemen seen here standing on alert at what will be the beginning of a parade. Over time, we develop, as an actor does, “bits of business”, ways of doing things, each with their own key visual signatures. But street work happens in the unranked and the unorganized as well…..indeed, there are actors and actresses everywhere we look. When we first begin to take notice, we may find it hard to see their stories; after a while, we can more easily trace where they’ve come from, where they’re headed, and what constitutes a climax or a turning point in their lives.

Some people choose to see street photography as eavesdropping, as an invasion of privacy. I reject this idea, because my personal intention is not to degrade but to cherish, to attempt pictures that celebrate the universal struggles of the human animal. The thing that makes our part-playing truly lonely is not the sensation that someone is watching, but the fear that no one is. Just as literature, poetry, painting and song all tie the travails of the individual to the traits of the general, so to, then, does the best photography. For if we are all “merely players”, may we not all long for the occasional chance to take a bow?

 


LAND OF NARROW SHADOWS

The narrow streets of Lower Manhattan can often be shrouded in shadow.

By MICHAEL PERKINS

IT’S A GIVEN THAT WALKING AROUND IN NEW YORK CITY IS A VASTLY DIFFERENT SENSATION depending upon where on Manhattan Island’s sprawling, kaleidoscopic grid you first plant your feet. The legendary contrasts from one neighborhood to another, as you journey from rich to poor, brassy to peaceful, are a key part of the collective character of the whole. Photographers, however, since they are necessarily fixated on variations in  illumination, may have an additionally unique experience between the cramped streets of Lower Manhattan and those in any other part of the region.

Quite simply, there is a premium on the amount of light that reaches the pavement in Lower Manhattan, the legacy of a spurt of urban growth that, in the first grand era of the skyscraper, threatened to smother the city’s avenues in darkness. Before the historic “setback laws” of 1916, buildings tended to grow not only tall but also virtually straight up, occupying the full space of the owners’ property lines all the way out to the sidewalk. As a result, it only took a few years into the twentieth century before Lower Manhattan’s streets were cloaked in shadow, with many byways too cramped to allow sunlight to make it to the pavement at all. Zoning was thus revised to require future buildings to rise only so far (the precise formula varies with height) before they would have to “set back”, or recede, to a smaller section, then be allowed to rise again by another maximum percentage before setting back yet again, with the cycle repeating up to the top. The new laws created the template for what we consider the modern skyscraper, which, for decades would feature a wide base followed by tapering sections that ended in a capital, rather like an open telescope. Think of the Empire State Building as emblematic of the breed.

Of course, for the streets in Lower Manhattan, especially the old financial district around Wall Street, the dye, in 1916, was already cast, with sunlight only making the occasional angled crawl into the lower stories, something which can create interesting patterns that shift and scatter throughout the day, tinting colors with a moodier edge and causing the occasional under-exposed image. The effect is sometimes like being inside the studio of Rembrandt, or any other artist credited with the use of so-called “Dutch lighting”. The overall sensation, to me, at least, is one of warmth and comfort. My wife, a native New Yorker, spent years working near Trinity Church, and considers the area claustrophobic, even as her hayseed Midwesterner husband gives it a thumbs-up. Of course, the entire area is also dotted with scads of ornate old-growth icons of skyscraper lore, such as the bull-nosed building that houses the legendary Delmonico’s steakhouse (seen at left), buildings that further enhance the time-traveler feel.

Photographically, there’s no reason to settle for one kind of New York, as there are literally dozens of flavors of it on offer at any one time. Me, I like to make pictures where the light creeps in on little cat feet instead of thundering in like a megawatt marquee. You pays your money and you takes your cherce, er, choice.


A NEW BEEHIVE IN AN OLD APPLE

Vessel, as seen from the entrance to Manhattan’s new Hudson Yards mall.

By MICHAEL PERKINS

IT HAS BEEN CALLED “THE EIFFEL TOWER OF AMERICA”, a “stairway to nowhere”, a “bold addition to the city’s landscape” and “an eyesore”,…….in other words, a new structure in New York City. Whatever its eventual place in the hearts of Manhattanites, architect Thomas Heatherwick’s Vessel, a hollow, honeycombed tower of open staircases, viewing landings and dizzying geometry, all sixteen stories of it, has become the visual exclamation point for the continuing explosion of shops and businesses known as Hudson Yards, a project so huge it may not max out for another decade. At this writing, it’s late 2019, and the tower’s creators, who claim the name “vessel” is just a transitional one, have already weathered a short tsunami of plaudits and protests since the beehive’s opening earlier in the spring. And in a city defined by bold visual signatures, the structure seems destined to become a darling for photographers, especially at its current newborn phase, in which there is, as yet, no “official” way of viewing it, no established postcard depiction to inhibit or limit individual visions. It’s at this first phase in a landmark’s life that all captures are equal: it’s the photographic equivalent of the Wild West.

Vessel consists of fifteen stories of alternating stairways and landings.

Vessel sits near the periphery of the High Line, the internationally praised West Side reclamation of the New York Central Railway’s old raised infrastructure, which now welcomes millions of strolling visitors and locals each year along its 1.45 miles of twisty, landscaped boardwalks, and has acted as the launch pad for recovery of the entire area, including Hudson Yards’ forest of skyscrapers and high-end shops. The first phase of the Yards is crowned by a glistening five-story mall whose massive glass facing wall is directly opposite Vessel. On the day when I visited, the free timed daily tickets to the inside of the honeycomb were all gone, so viewing it in the regular fashion was off the table. However, every floor of the mall has a spectacular view of the structure and its surrounding plaza, which actually appealed to me almost as much as a trip inside. The combination of reflection, refraction, and the golden glow of the approaching sunset made for a slightly kaleidoscopic effect, and so I decided to re-configure my plans. As mentioned before, the utter newness of the tower plays superbly well into photographic experimentation, as its design seems to present a completely different experience to the viewer every few feet, a very democratic sensation that rewards every visitor in a distinctly personal way. Besides, part of the fun of seeing new things in New York is weighing the hoorays and howls against each other and then making up your own mind.

In a city that has seen both P.T. Barnum’s dime museum and Penn Station fade from the scene over the centuries, it’s useless to guess whether Vessel is eventually regarded as a must-see or a fizzle. But it doesn’t matter much either way. Right now, it is neither building nor dwelling. Like Eiffel, it just is, and maybe that’ll be enough. In the meantime, photographers are using the opportunity of its present existence to celebrate the uncertainty that informs the making of the best pictures.


RE-PURPOSING TIME

By MICHAEL PERKINS

THE FIRST MASTERS OF PHOTOGRAPHY STRUGGLED with processes and tools that seemed to stack the deck against the chances that anyone would ever, ever create even a single photograph. Those first exposures, made with slow media and balky, uncertain lenses were not only works of art, but they were truly just plain, flat out work. I recently viewed a video demonstrating the bygone method known as photogravure, the means by which any “serious” photographic artist would render his work for critical approval in the late 19th-century. I was so utterly crushed by the sheer unforgiving precision needed to complete the process that I dropped to my needs and thanked the photo gods for giving me the luxury to merely….shoot. I felt at once lazy and liberated.

One thing these old exposure and processing systems did, however, is fix their visual aspects in time, so that, in our mental sorting process, we easily differentiate between the look of an 1850 wet-plate image and a 1950 Polaroid Land camera snapshot. Various periods in the methodological development of the art have their own distinct signatures. The strange thing is how, in the present era, we use apps and editing suites to summon those old ghost looks back into the present, mixing periods together like a cook throwing all his available ingredients into a garbage salad. We no longer give any thought to making something look old, or retro-old, or ironically old-ish. All times periods can exist in the same image, and whether they have any natural relation to each other is a moot point, if a point at all. We just do it because we can just do it.

Toto, I don’t think we’re in 1863 anymore.

In the above picture, for example, I’m merely playing, without any real object in mind. The master photograph on which this remix is based was taken two months ago (Summer 2019) at the main greenhouse building at Minneapolis’ Como Park. The structure’s classic design, complete with rounded cupolas and gently curving rooflines, reminded me of the immense halls that were erected in the 1800’s to house international expositions, industrial shows and world’s fairs, and so I took a fairly straightforward shot from a cell phone and cranked it through an app to evoke an echo of that time, a visual masquerade that mimics the tintype process, right down to its selective pinpoint focus and plate grain. Admittedly, the illusion is spoiled a bit, since the people in the picture are wearing shorts and t-shirts rather than bustles and straw boaters, but that’s not the point. I wasn’t trying, like some master art forger, to make you think this was a newly discovered artifact of the Victorian age. And while I might have been trying to comment on “how we used to think of the purpose of grand public spaces”, or how that contrasts with the public spaces we value now…..I wasn’t. I was just goofing off, using quick and amazing tools the way a child might take Mr. Potato Head’s nose and put it where his ear should be.

What is singular, however, is knowing that any part of photography can be harnessed or combined with every other part of photography at any time. That’s not a hot bulletin, but it is worth pointing out from time to time that, after centuries of innovation, our art is now, like Kurt Vonnegut’s Billy Pilgrim, truly unstuck in time. Backwards, forwards, or right in the middle, what we shoot and where we stand are completely under our control.


NOTHING EVER HAPPENS AROUND HERE

Midday At The Monte Vista, 2019

By MICHAEL PERKINS

AS THE CAMERA IS A KIND OF REPORTER, it is called upon to capture or convey every aspect of the human experience. In a strict journalistic context, this can mostly consist of emotional extremes…..that is, joy, devastation, triumph, disaster, life, death. Feelings that laugh (or scream) out loud sell newspapers and pump ratings. But photographers are also called upon to show that, for one reason or another, we humans spend a lot of time….waiting.

You can make your own list of all the things we actually wait upon: trains, planes, the next opportunity, the last piece of cake, Christmas, true love. To be human is to abide, to patiently hang until the next item on life’s menu comes along. Sometimes there is nothing visually special in all that waiting. On the other hand, sometimes we can use our cameras to depict our restlessness, our expectation. Certainly time can slow to a crawl, and, with it, the heartbeat of our existence. But occasionally, all that “nothing looks”, at least in a photograph, like something.

We learn to document and measure emptiness. Cities before they fully wake. Courtrooms that have just emptied out. The first seepage of night into the dying day. Places that should be bustling, but aren’t. Towns on the edge of the end. People who’ve been stood up, left out, or merely missed their connection. But, there’s no guarantee that when “nothing” happens, a picture with “something” results. Sometimes, nothing is just…nothing.

But then again….

The hotel lobby seen here has graced its small town for over a hundred years. And it stands to reason that, if the owners were making a promotional video of that century, the end product would feature plenty of images of the famous and infamous who crossed its threshold over the joint’s lifetime. The parties. The ends of wars. The changes from horse-drawn carriages to tin lizzies. But today, there are no greatest hits on the schedule. Today, there is only waiting. Killing time. Glancing at the clock, again. Last week’s stale gossip reheated for today’s visitors. Perhaps a weary remark by someone that “nothing ever happens around here”. The challenge, then: on this particular day, will all that nothing arrange itself into a scene, a small story about a small day, a tale worth telling? Or is the waiting all there is?

Making photographs on “nothing” days is an exercise, just like push-ups or jumping jacks. Often it merely amounts to keeping in practice. Staying limber. Just in case. Still, the pictures where nothing happens are occasionally, themselves, something else.

Or not.

Anyone around here have a deck of cards?

 


THE HOUSE I LIVE IN

By MICHAEL PERKINS

FRANK LLOYD WRIGHT OFTEN EXPRESSED THE BELIEF THAT, in architecture, “form and function are one”, that, in the best designs, what a thing is used for will generally dictate its appearance. And while it does seem to hold true that sports stadiums do look like places where sports are played, or that churches look like places where people worship, I’m not always sure, as a photographer, that I agree with FLLW that the form/function rule applies in all structures. I have a lifelong love for images of personal dwellings, places that, all too often, look ill-suited to house humans at all, as if, indeed, there was no conscious link between form and function. In many cases, we live in basic containers that just are, with how we live in them dictating their form almost as an afterthought or improvisation, draped as they are with the stuff we’ve accumulated over a lifetime.

Indeed, it’s how the infinitely adaptable human retrofits his house from the inside out that makes it look like somebody actually lives there, rather like a window looks more window-ish once someone hangs drapes in it. Urban living is littered with enclosures that will, sadly, never look like anyone’s domicile, and it’s only the personal things that spill outward from within that give them any visual identity or distinction at all. Thus, when I’m walking through a neighborhood, I pay less attention to the well-tailored or manicured houses and more attention to the littered ones, the ones where things are randomly hung or hammered into place, the houses where makeshift repairs or ill-performed additions are in evidence. Houses that otherwise seem as if they were extruded from a Play-Doh Fun Factory can become personalized by what is strewn in front of them, left in the yard, tacked on as a footnote. It is that randomness, that refusal to conform, that makes houses human, and thus ripe for picture-making.

We Call It Home, 2019

In the image you see here, the house speaks eloquently about the most important things in its owners’ lives. It’s an outward barometer of their hobbies, pastimes, daily chores. The structure itself might never have struck anyone, from the architect to the builder, as unique, but as its true identity has been assembled, layered over it, its messages are all clear and direct. Wright was correct that buildings should reflect the purpose for which they were built. However, when they fail that task, design-wise, the way they are actually used will explode out of them, in a million different cues and clues over a million billion neighborhoods, in a visual shorthand that photographers will forever delight in decoding.


OUT ON THE EDGE OF NEXT

“…come on out and make romance”

By MICHAEL PERKINS

PHOTOGRAPHERS KNOW THAT THE NIGHT HOLDS A SPECIAL POTENTIAL FOR ACTION, a condition mysteriously distinct from that of daytime. Yes, we all know that there is, technically, nothing in our after-dark scenes that wasn’t there in the light (isn’t that what we tell anxious kids as we tuck them in?), but all the same, the shadows seem to, in a sense, withhold information, or at least re-shape it somehow. A conversation from the day becomes, in the night, slightly conspiratorial. Colors that register as merely garish in the day can become threatening in the shadows of evening. And photographers aren’t the only artists who sense this transformation. Poets, painters, songwriters….all take careful measure of the two worlds defined by the day/night demarcation, all taking note that light, or its absence, is more than mere atmosphere, but also mood, even intention.

In recent days, as I tumble all this over in my mind, I’ve been reviewing a whole series of night shots that I believe have a particular flavor that they may not have had, were they shot during the day. I’ve also been running a musical playlist of songs that seek to capture this same strange phenomenon. Rock ‘n’ roll, with its special emphasis on the restless and rambling impulses of youth, is strongest when it comes to characterizing that urge to move, to discover, to dare or rebel. You will no doubt have songs that you believe best frame these feelings. Some are simple, others more ornate, but, for my money, none come close to the compact, precise, and emotionally direct language of Van Morrison’s Wild Night. Regard for a moment, if you will, the random carnival shot above, and sink yourself into Morrison’s unique invitation to join the ranks of a special kind of shadowy wanderer:

As you brush your shoes, stand before the mirror
And you comb your hair, grab your coat and hat
And you walk, wet streets tryin’ to remember
All the wild night breezes in your mem’ry ever

And ev’rything looks so complete when you’re walkin’ out on the street
And the wind catches your feet, sends you flyin’, cryin’

Ooo-woo-wee!
Wild night is calling
Oooo-ooo-wee!
Wild night is calling

And all the girls walk by, dressed up for each other
And the boys do the boogie-woogie on the corner of the street
And the people, passin’ by stare in wild wonder
And the inside juke-box roars out just like thunder

And ev’rything looks so complete when you’re walkin’ out on the street
And the wind catches your feet
And sends you flyin’, cryin’

Woo-woo-wee!
Wild night is calling
Ooo-ooo-wee!
Wild night is calling, alright

The wild night is calling
The wild night is calling

Come on out and dance
Whoa, come on out and make romance

c) 1971 WB Music. Corp / Caledonia Soul Music (ASCAP). All rights reserved.

 

Anticipation. Experimentation. Potential. Mystery.

The wild night is calling, and sending images racing into hearts.

And cameras.

Come on out and make romance.

 

 


SECOND HELPING (WITH A SIDE OF COMFORT)

The Venus diner, a fixture of turnpike life in Gibsonia, Pa. during the 20th century.

By MICHAEL PERKINS

PHOTOGRAPHERS OFTEN FIND THAT SOME SUBJECTS HAVE A DISTINCT VISUAL SIGNATURE. That is to say, they instantly convey precisely what they are. The word iconic means something that stands as the defining symbol for its class and and category, signaling us in a moment exactly what we’re looking at. In architecture, some structures are, in a way, self-explanatory, and cannot be confused with anything else. Thus churches tend to look like churches, palaces kinda always look like palaces, and, for purveyors of twentieth-century pop culture, diners look, unmistakably, like diners. They bespeak informality, convenience, comfort, and, if luck holds, good eats. They also communicate immediate context and poignant memory for the camera.

Diners first appeared on the national scene in the 1920’s as horse-drawn wagons with food, then stretched out to resemble railroad dining cars clad in gleaming Art Deco chrome, all rounded corners, streamlined stainless steel, and mirrors. Lots of mirrors, like the ones in the ceilings, which allowed counter waitresses to quickly ascertain which booth needed a coffee refill. The eateries peaked just after World War II, when casual dining had become a national habit, the joints were finally attracting as many women as male laborers, and diner ownership served, for a time, as an affordable first business move for returning vets.

While most eating establishments are built like any other other structure, that is, on-site, working from a framework which is then layered over with different levels of support or decor, the classic American diner of the 20’s through the 50’s was produced modularly, much like an automobile. Indeed, the closest relative to the diner might be the Airsteam trailer, an edifice built as a single unit in a factory and shipped to its final destination. Over the half-century or so that diners dotted the national map, companies like Silk City, Kullman and Fodero manufactured compact, curvilinear eateries that were trucked, fully equipped inside and out, to their initial locations ready for business. Such was the origin of the diner you see in the above image (a Fordero diner…shout-out to New Jersey), which began its life near the Gibsonia exit of the Pittsburgh portion of the Pennsylvania turnpike. As the place was situated only seven miles from the neoghboring town of Mars, Pa., the diner’s owners decided to maintain the planetary theme, naming their joint the Venus.

Half a century later, another alignment of cosmic forces began to ready the Venus for a second life. Just as it was pouring its last cups o’ joe, the owners of a tony Minneapolis decor boutique called Modern Forage Workshop were getting pretty tired of the wretched view out their store window, which looked across the street to a dilapidated Taco Bell fronted by a seedy vacant lot. Mike Smith and James Brown almost simultaneously hit on the idea of obtaining a classic diner for the spot, but where to get one? Diner manufacturers were a speciality even back in the day, making their restoration even more of a niche skill in the twenty-first century. Smith and Brown sniffed about and unearthed Steve Harwin, a Cleveland tinkerer who had begun his career refurbishing high-end sports cars, then switched specialities when his European pals told him that diners were “the coolest things in America”.

The reborn Venus now doing business in Minneapolis as the Hi-Lo.

Shipped to Harwin via flatbed truck and police escort (wiiiiiide load), the Venus was cleaned, sanded and primped for a second cross-country trek to the Twin Cities. As in the past, the local landscape determined the place’s new monicker, which celebrated the regentrification of both the HIawatha and LOngfellow neighborhoods to be christened the Hi-Lo, opening to rave reviews in 2016 and even opening a kitschy tiki patio around the side in 2018. Recently, my wife Marian and I caught a glimpse of the old girl out the car window en route to St. Paul and decided to circle back for a better look. One very intense plate of corned beef hash later, I betook myself to the opposite side of the street for the same vantage point that Smith and Brown once disdained, later celebrated. It goes without saying that the view is a helluva lot better these days.

And the coffee ain’t bad either.