By MICHAEL PERKINS
AT THIS WRITING, or January of 2019, your humble author is anticipating a little side trip back into film technology, as I await delivery of a roll of the re-introduced Kodak Ektachrome 35mm reversal film. The stock will be fairly slowly rated at 100 speed, so, along with the generally unforgiving nature of slide film, there will be more than enough potential for the final product to come in on the underexposed side. Which is fine with me.
Years ago, I fell in love with the hyper-saturation I got when I accidentally under-exposed original Ektachrome and its even slower cousin, the lost and lamented Kodachrome. So once I load the E-roll into my old Minolta SRT-200, I might even try to deliberately push the bottom end of the stuff to see just how minimal I can make the shots……which got me thinking about recent instances in which I tried to get that Dutch-lit effect digitally. Turns out that there were more than a few of them in the year just gone by, and so I preceded to gather up a short stack for a new page called When Lights Are Low, joining the other tabs at the top of this page as of this posting.
There are no coordinating themes in this grouping, just the common experiment of undercranking the exposure to see just how much you can do with how little. A few of the images were the subject of earlier essays in these pages: most haven’t been seen before. Of course, shooting film again is, for me, returning to the high risk and low reward of the medium, which can be, let’s face it, a chance to avenge old sins. Maybe this time I’ll get it right.
When it comes right down to it, film is very aspirational: you have to invest a lot of hope in it at the front end, and be happier with a much slimmer harvest of usable goodies than in the digital world. But it’s occasionally fun to take a filmic effect that you’ve learned to emulate in digital and try to achieve it, you know, on film. Whatever that proves is to be decided by those of you out there in the darkness who are sporting degrees in psychoanalysis. Meanwhile, the whole thing makes my head hurt, so I’m going to go lie down. Cheers.
By MICHAEL PERKINS
ONE OF THE BLESSINGS OF DIGITAL PHOTOGRAPHY (and the best argument for laying aside film) is the nearly endless and affordable numbers of “do-overs” it affords the learning shooter. Cranking out the sheer volume of practice frames needed to hone one’s skills and train one’s eyes used to be costly in both currency and years. As a consequence, many photographers had far fewer successful experiences than others. Money and time separated those who mastered their methodologies and those who were forced to click and trust to luck.
Digital cameras, through their pure scientific advancement, guaranteed that many more of our most hurried snaps were at least technically passable. But they gave us a far more important gift….the ability to speed up our learning curve through a speedy, risk-free process of constant feedback….an endless stream of yes/no, pass/fail messages that shape our work over the course of months instead of years, allowing us to understand what is going wrong, and fix it in the moment, while the family is still gathered in this room, while that amazing sunset is still grabbable. We learn everything faster, especially the use of new equipment.
Part of this “break-in” process for gear, at least for me, is to select something, anything to shoot with it……to not wait for a perfect occasion or an ideal subject, but to seek examples of the conditions under which I want to use the new gear. Any place can become a sort of kingdom of non-keepers, a lab for images where I don’t expect to do much more than make mistakes.
This kind of experimentation is perfect for days with iffy weather or drab, overworked locales, since part of learning a lens is figuring out how to make the ordinary extraordinary in any and all conditions. To my earlier point, shooting in this way seemed (to me) wasteful and risky with film: you always felt that you had to get a good return-on-investment for whatever the roll and processing were costing you. That could unconsciously lead you to shoot more conservatively, to play things safe, lest your crop of keepers be diminished by doing something reckless. But that’s the rub, innit? “Reckless” is where the good stuff comes from.
The shot seen here is from such a “let’s see what happens” shoot, a quick walk through a shopping mall I’ve visited a jillion times. The site has long since ceased to show me anything fresh to look at, but it sports a wide range of light conditions and textures throughout a typical day, so it is an appropriate kingdom for non-keepers, and a good place to crank off about fifty shots with a manual lens that’s still kicking my behind on precise focus. As it turns out, this particular piece of glass (a Soviet-era Helios 44) is soft even at its sharpest, but since that’s something I actually desire at times, practice is a must.
I’m a big believer, then, of shooting lots of pictures that “don’t matter”…..because they make you ready for the day when they really do. And because, once you can think less about how to take a picture, you can spend more time thinking about why you take it.
By MICHAEL PERKINS
A SELECTIVE READING OF SOME of the posts featured in The Normal Eye over the years might give the impression that I am “anti-flash” in my approach to photography. A closer look, however, would reveal that I am more properly non-flash….that, while I stipulate that judicious use of artificial light can be amazing, (a) it can often do more harm than good, and (b) there are fewer situations in which it’s needed than at any other point in time. So, anti……no. But non…..absolutely.
Choosing not to use flash in low light situations used to mean that a tripod was essential for sharpness in even reasonably quick exposures, but even that truth is falling by the wayside, as sensors allow for lower noise at ever-higher ISO levels. The handheld shot is now more convenient and reliable than ever, with only modest investments in gear and/or practice to yield suitable results. This means that, outside of very formalized studio settings, you may now be able to leave both flash and pod in the closet in more and more cases.
So let’s pursue the ideal: a low-light image, shot handheld, with the lowest possible ISO, achieved without flash or tripod. First, your glass needs to be fast, something that can’t be said for the basic kit lenses that are packaged with most DSLRs. A lens like a kit 18-55mm that only opens in the f/3.5 range can’t compete with prime lenses such as a 35 or 50mm of f/1.8 or faster. The extra several stops can render many more handheld shots feasible, and so investing in an affordable prime (single focal length) is money well spent.
The other, and far more decisive factors in this handheld quest, since you’ll be dealing in slower exposure times, are the purely physical moves involved in bracing your camera. Whether it’s a firm stance, a solid grip, a handy resting place like a shelf, or a combination of all three, you have to practice….a lot…in minimizing camera shake. Everyone’s technique for this will vary, and the web is rich in written or video tutorials from which to choose. The point is, it’s possible to learn how to do it.
The two shots shown here are both shot wide open, at F/1.8, at a rock-bottom ISO value of 100 and available light only (the room was actually further darkened for purposes of this test). And while you can certainly see a clear contrast in sharpness between the first and second shot, they are handheld at 1/5th of a second and 1 full second respectively and are both usable shots (seen here straight out of the camera). Moreover, even shooting at, say, 1/10th of a second or faster, the picture could still be done with very low ISO and no flash, no tripod. And that buys you ease, mobility and speed. Travel light, shoot more, and in more places.
Again, I am most definitely not anti-flash. I just think that the fluidity of today’s gear, along with a few hours of practice, can simplify your shooting, giving you more concentration on the why of a picture rather than the how of getting it done.
By MICHAEL PERKINS
WE’VE ALL DONE IT: we’re sent to the grocery store for bread and milk, and come back with a six-pack of beef jerky, a gallon tub of guacamole, and a family-sized box of Trix. Sometimes, lost in the sublime and seductive specials inside the store, we even come home without the bread and milk. But, hey, beef jerky.
That’s what happens on some photographic shoots.
The sequence is familiar. You pick the target. You pack the appropriate gear. You may also have to book passage or pay for admission to something. You research the forecast. You even visualize the expected layout or sequence of shots. And then comes the day itself, a day upon which, for whatever reason, the pictures won’t come. A day upon which you can’t buy a usable image for love or money. To further torture my original metaphor, the grocery store is fresh out of bread and milk.
But, fear not: as a photographer, you are nothing if not resilient. Like a lost dad determined to find something of use somewhere in the supermarket, you go looking for deals. The pictorial orphans. The what-the-hell or go-for broke shots. Wild clicks as you’re slinking back to the parking lot. Cripes, at this point, you’re reduced to looking for cute dogs. But will these desperate moves yield pictorial gold?
No guarantees. Fate doesn’t dole out consolation prizes. However, the primal panic that results from seeing your Plan “A” go down in flames can make you more open to experimentation, less fastidious about getting the perfect frame. That, in turn, may lead to embracing the accidental over the intentional……of moving your emphasis from the conceptual (your original plan) to the perceptual (flashes of ideas that occur once your mind is open).
The shot seen here, if I’m honest, is neither good nor bad. It was merely workable at the end of a day on which absolutely nothing else was. I liked what the light was ( and wasn’t) doing in the moment, and the girl gave me a small anchor for the viewer’s eye, albeit a small one. Other than that, I had no overarching concept for the picture. An empty grocery cart made me reach for the beef jerky.
Photographs begin with intention, certainly. But we often kid ourselves about what a huge part randomness plays in what happens between Think and Click. We’d love to assume we’re in charge of our process. But let’s also learn to love the disrupters, the detours, and the dreams gone amiss.
By MICHAEL PERKINS
THE GREAT IRONIC CLICHE OF CITIES is how they smash millions of people together while also keeping them completely isolated from each other, forcing the seeming intersections of lives that, below the surface, are still tragically alienated. Photography, coming of age as it did at roughly the same time as the global rise of cities, became accustomed, early on, with showing both the mad crush and the killing melancholy of these strange streets. We take group shots within which, hidden in plain sight, linger poignant solo portraits. The thrill of learning to speak both messages with a camera in one instant is why we do this thing.
Gray days, especially the fat batch of them I recently harvested in Manhattan, do half of my street photographer’s job for me, deepening colors and shadows in what can quickly become an experiment in underexposure, a lab which, in turn, profoundly alters mood. Things that were somber to begin with become absolutely leaden, with feelings running to extremes on the merest of subjects and forcing every impression through a muted filter. It’s what makes it out the back end of that filter that determines what kind of picture I’ll get.
The two diners in this scene are an arbitrary interpretation…..a judgement call that, on a bright day, I might have made completely differently. They are in parallel arrangement, so they both are looking off to the right, never across at each other. Does this make them lonely, or merely alone? The fact that there is one man and one woman in the composition doesn’t necessarily denote desperate or disconnected lives, but isn’t there at least a slight temptation for the viewer to read the image that way? And then there is our habit of seeing this kind of color palette as moody, sad, contemplative. The limited amount of light in the frame, as much as any other element, “tells” us what to feel about the entire scene. Or does it?
Now, of course, if you were to pack a roomful of other photogs into the same room alongside me to shoot the same image under the exact same conditions, you would very likely get a wider variety of readings. One such reading might suggest that both of these people were thoroughly enjoying a pleasant, quiet lunch, part of a lifelong pattern of contented fulfillment. Or not.
Cities are composed of millions of eyes backed by many more millions of inherited viewpoints on what defines big words like lonely, isolated, sad, thoughtful, and so on. But all of us, regardless of approach, are taking the strange city yin/yang of get closer/go away and trying to extract our own meaning from it.
By MICHAEL PERKINS
NO ONE EVER INTENTIONALLY DESIGNS SOMETHING TO BE UGLY. There has never been an artist’s or architect’s rendering that shows a project, from a city park to a shopping mall, as anything but ideal. Drawings created to excite investors and planners are consistently festooned with bright, broad sidewalks, strolling families (with their dogs), and bowers of flowers. When you see a sign saying, “coming soon on this site”, it’s always a sunny day.
Of course, once the dedication ribbon is cut, reality intervenes. Neighborhoods rise and fall. Things wear out. The cool things that were to be built during “phase two” get un-funded. The dream of the possible becomes the dreariness of the actual. And photographers are there to measure the distance between those extremes.
Sadly, merely making images of what has gone wrong in modern life is almost a default for many shooters, and their predictably bleak work reflects that. Creating pictures of decay or failure is certainly easy, almost a cynical cop-out, as if seeing the ugliness in things is somehow more honest, more “authentic”. I can understand taking that bait. I have taken that bait. But I think photographers need to struggle to confer grace on things as well, to try to show how things might have worked out. Yes, there’s a lot of drama to be had in documenting what went wrong. But, at one point in the process, before the beginnings of things, people invested faith in what they were creating, a faith that said that things would be generally better Once This Thing Is Completed. Pictorially, trying to portray potential, especially wasted potential, is far tricker.
As to the image shown here, I’d like to say it was the result of some marvelous act of planning, but the fact is, the entire scene, bathed in the deep golds of dusk, was seen and seized in an instant. I remember being struck by the feeling that this kind of light was so miraculous that it could confer nobility on even a car wash in a shopworn neighborhood, and that a momentary break in the clouds had given the reds and yellows the hyper-saturated look of an old, slow film stock like Kodachrome. Again, all these impressions registered inside a few seconds, and I went for it. The result reminded me that, once, someone thought this car wash would at least be neat, or efficient, or attractive. Sometimes that dream is totally submerged in the crust of What Happened Later. But I feel compelled to search for it anyway, to confer grace on what the dreamers saw. After all, under the skin, we’re all in the same game.
By MICHAEL PERKINS
I’M A HUGE FAN OF THE EARLIEST VERSION of the classic Technicolor film process, the so-called “two-strip” technique from the 1920’s, which simultaneously exposed two separate frames of black and white film of a single subject, one strip through a green filter, the other through a red one. Combined in the lab, the composite image simulated most of the colors of nature that contained either red or green, but absent the third layer of blue/cyan which would be added in the more advanced three-strip Technicolor process, the one which became the industry standard by the early ’30’s. Two-strip features like Mystery Of The Wax Museum or The King Of Jazz are a kind of object lesson for photographers in learning to work with narrow color palettes. The message: do the most with what you’ve got.
Every shooter encounters situations, most of them dictated by changes in available light, which severely limit the full spectrum of reproducible color. We might eagerly embrace the warmth of the two daily “golden hours” that bathe most bright hues in gold. We might bemoan cloudy days, which can drain everything of saturation or contrast. We might have to make adjustments when shade makes our cameras read light at the wrong color temperature, giving our images “the blues”. Whatever the challenge, photographers make myriad choices about color in a single minute, and, unlike the early technicians at Technicolor, they don’t necessarily see a faithful rendering of “reality” as Job One. How “natural” do we want to present color, and how do we define that word, anyway? Is color a determinant of comfort, tension, revelation, drama? Do we intentionally choose hues that either conceal or reveal?
Deep sunset, as seen in the above image, is one situation in which nature itself narrows the color palette. All yellows and reds tend to morph into orange. All blacks, browns and grays migrate to blues. Middle tones head for the hills. Contrast jumps off the meter. Subtlety takes a vacation. Suddenly, as in the case of the old two-strip Technicolor, you’re forcing very few colors to do the work of many….to deliver a version of the world rather than a faithful reproduction of it.
Color processes since the beginning of photography have embraced the idea that you could either reflect reality or, in the pursuit of a great picture, bend it a little.
Or more than a little.
Or a hell of a lot more.
By MICHAEL PERKINS
SINGLE–SOURCE LIGHT IS ALMOST ALWAYS USED, IN PHOTOGRAPHY, with the aim of calling attention to something other than itself. Typically the light’s origination point is hidden or removed from the final composition, entering from outside the frame via a side window or a top-down studio lamp, modeling or dimensionalizing an object, creating the illusion that all the light in the room just happened organically.
And that’s pretty much as it should be. You usually don’t use the tools of a craft to say, in effect, look at the way these cool tools helped me play a trick on you. As photographers we don’t like to be caught in the act of fooling, and so there are many images where the single source light is seen just in its effect, not as a cause.
Many, but not all. Sometimes the light actually needs to be part of the story, as shown here.
Most places of business naturally react to the daily dying of exterior light by turning on their interior lamps. Sun goes down, lights go up. But occasionally, as in this wondrous and quirky little bakery cafe in Morningside Heights in Manhattan, the comfort food was accompanied by what could easily be termed comfort light. The lights inside the pastry case, at least during this particular evening, were allowed to serve as the only illumination for the entire inside of the store, lending the customers around the counter the warm intimacy of a shared fireplace.
The moment filled me with longing for a world whose labors and leisure were once defined solely by the parameters of day or night, mitigated only by the occasional torch or oil lamp. And so, in this special case (and in many more you can no doubt name from your own experiences), the source of the image’s light really is part of the narrative, and thus deserves its place at center stage.
By MICHAEL PERKINS
“LOST IN THE WOODS”. “DEEP IN THE FOREST”…conjure your own phrase for the sensation of entering, and being swallowed by, dark, mysterious places. Realms of shadow, primordial laboratories in which both dreams and nightmares are brewed. In other words, sites where photographers can wax poetic. Or crash and burn.
Forested areas are both challenge and opportunity for shooters, since they are seldom subject to the same laws of composition or exposure as subjects shot out in the open. Mastering light in woodsy settings can be a crusade in its own right: details can melt into dark murk or be completely blown out in sudden shafts of sunlight. I have produced more mushy, indecipherable messes with more cameras in more forests than I care to count, in pictures which inadvertently produce more mystery than they reveal, as in “what’s this supposed to be?”
I can come a lot closer to coherence when I work with partial clearings rather than dense woods, working with simpler compositions that suggest the feel of the forest from its near edge rather than its center. Exposure becomes a more streamlined process as well.
Also, since the emphasis in such a shot is on mood rather than detail, even the basics of focus can become, well, negotiable, as seen here. But then, almost anything in the making of a photograph is. Or should be. My point being that, when the taking of a picture fails, it can be because the photographer is trying to execute too many things at once. Eliminating some of those things until the image becomes manageable can be, like walking out of a dark forest, a profound relief.
By MICHAEL PERKINS
IN A PERFECT WORLD, all our photographs would have their permanent address at the intersection of Flawless Technique Street and Great Message Boulevard. And while some do, magically, make it to this mystical crossroads, many others lose the paper the directions were scribbled on and wind up down some back alley.
Powerful narratives can arrive in perfect packages, sure. But not often and not with any predictability. Often we settle for one half of the ideal or the other. That “going halfies” choice determines what we regard as most important in our favorite images.
I would love to be able to achieve technical perfection every time I’m up to bat, but I’m not religious about raw precision….at least not the way I am about emotional resonance. Every one of you has a pile of pictures which are optically flawless and another pile of pictures that speak to your best intentions. Given an either/or judgement on which of these are your “keepers”, why wouldn’t you always, always choose the images that, regardless of various “flaws”, conveyed your mind and heart?
Light, focus, aperture, even composition are tools, not ends unto themselves, and even the best photographers drop one or another of these techno-balls in some of their best work. But should we seriously disqualify an image merely on technical points? If the answer is yes, then half of the works that we collectively value as great must be stricken from the public record, and photography is merely a recording process, like the operation of a seismograph or any other instrument where precision trumps every other consideration. But if the answer is no, then a picture that fails one or more technical tests can stil be considered valid, so long as it is emotionally true.
I struggle with these choices whenever I produce a shot that has things “wrong” with it, but which is also an authentic register of where my mind was at the time it was snapped. Photos like the one seen here would fail many a judge’s test, depending on who’s doing the judging. It’s too dark. The shutter speed is way too slow, inviting blur. Some of the shadows swallow detail that might just be important. And yet I love this building, these people, this moment. In my defense, I had to decide in an instant whether to even attempt the picture, taken, as it was, from the back seat of an Uber lurching unevenly through the streets of Manhattan. Shooting on full manual, I had to anticipate fast changes in available light, the length of traffic signals, the process of shooting through glass with a filtered lens, and the occasional offensive/defensive maneuvers of the driver. In raw scoring, I just didn’t manage to master all of these variables in a technically perfect manner. And yet..
There has been a lot of talk lately about not letting the Perfect be the enemy of the Good, a phrase which says more about photography in ten words than I’ve said in this entire page. Rule one for shooters: don’t let the flawless be master over the real.
By MICHAEL PERKINS
SHOOTING FROM A PROPRIETARY VIEWPOINT is the photographer’s equivalent of being invited to a wedding with an open bar. You try everything. Turns out you don’t really like Singapore Slings? Leave it on a tray and go back for the Jack and Coke.
It really is that simple. If you find yourself with a one-of-a-kind view, assume you’ll never be invited back and hit the subject with everything you’ve got. Change lenses. Up-end your normal method of working. Do something screwy. But do try it all. Hey, you’re on top of Mt. Fuji, right? So it’s not like you’re passing this way again next month. Go for broke.
The Manhattan rooftop from which these samples were shot was a gift, and I knew it. I popped off dozens of frames in every direction with every combination of gear and settingscI could think of, simply because the vantage point would likely never be available to me in the future. Not anytime soon, anyway. One thing that’s always in the back of my mind when shooting in New York is the wonderful look of classic images shot in Kodachrome, the greatest but most temperamental film in history, now gone to that Big Darkroom In The Sky. Kodachrome had amazingly warm color saturation, but, all science-y talk aside, its “look” was probably due in large part to the fact that it was slooooww, just the equivalent of 100 ISO at its speediest. That means that, simply, many of us were underexposing it. By a lot. Anyway, I’m always out to craft my own Kodachromesque Manhattan, and I saw a chance to do so in this particular situation.
The two shots seen here were taken mere seconds apart from each other, both shot with a 24mm prime sporting a circular polarizing filter. The lighter one is f/8 at 1/60 sec., while the darker, more “day is done” image is deliberately underexposed at f/16, 1/160 sec. The combination of the smaller aperture and the filter doubles the intensity of all colors, but sacrifices someinformation in the shadier areas. I leave it to you as to what’s been gained and what’s been lost. The point is that I shot about eight other versions of this scene, erring on the side of too many choices in everything I aimed at that afternoon. Photography is not only apprehending where you are, but understanding just how briefly you’ll be there.
But, hey, it’s possible I’ll get a repeat invitation to this particular roof. Then again, I spilled my Jack and Coke all over the hostess on my way out, so you never can tell.
SOME OF THE BEST PHOTOGRAPHS come riding in on the backs of the scrawniness stories, like Don Quixote limping into town astride Rocinante. To be sure, images are evidence, proof of a kind of a person’s various truths or journeys in life. But there are times when that evidence is scant, hidden, confined to the dimensions of a bone, the chip of a cup, The Dress She Loved.
Or a tool.
Like the camera itself, the tool is a device designed to work its wielder’s will. Case in point: the instrument at left, a punch for cutting holes into leather, a device which has no other official function than to execute the hand movements of the shoemaker who once owned it. A thing created to dumbly create other things.
But now, absent its master, it is also testimony.
With the shoemaker gone, the tool becomes a partial proof of his life, a defining characteristic of the way he made his living. It’s also a kind of miniature history of things in general, a living demonstration that, literally, “they don’t make ’em (or him) like that anymore”. In photographing the things people carried, which now must speak for them, I use the sharpest, most accurate lenses I can, using nothing but opaque backgrounds and soft window light, seeking the registration of every speck of patina, rust, discoloration or personalization available. For example, I love the worn fragment of leather glued to the left grip of the punch. I know, historically, that this particular tool was not originally made with any such pad or cushion, and so it had to have been the very human creation of its owner, an attempt to add a smidgeon of comfort to what must have seemed an endlessly repeating task.
I have photographed many artifacts from people I either knew too little or too briefly, from military decorations to cameras to scientific instruments to pocket watches. All reveal quiet stories about the vital beings who once thought of their quotidian uses as the stuff of forever. Now, weilding my own tool of trade, I can extend tiny bits of those forevers into a few more precious days.
By MICHAEL PERKINS
IT’S FAIR TO SAY that photographers are occasionally the worst possible judges of what will save or spoil a picture. Try as we may to judiciously assemble the perfect composition, there are random forces afoot in the cosmos that make our vaunted “concepts” look like nothing more than lucky guesses. And that’s just the images that actually worked out.
All great public places have within them common spaces in which the shooter can safely trust to such luck, areas where the general cross-traffic of humanity guarantees at least a fatter crop of opportunity for happy marriages between passersby and props. At Boston’s elegant Isabella Stewart Gardner Museum, the surrounding walls of the central court are the main public collecting point, with hundreds of visitors framed daily by the arched windows and the architectural splendor of a re-imagined 15th-century Venetian palace. The couple seen here are but one of many pairings observable in a typical day.
The pair just happens to come ready-made, with enough decent luck assembled in one frame for almost anyone to come away with a half-decent picture. The size contrast between the man and the woman, their face-to-face gaze, their balanced location in the middle arch of the window, and their harmony with the overall verticality of the frame seem to say “mission accomplished”. I don’t need to know their agenda: they could be reciting lines of Gibrhan to each other or discussing mortgage rates: visually, it doesn’t matter. At the last instant, however, the seated woman, in shadow just right of them, presents some mystery. Is she extraneous, i.e., a spoiler, or does she provide a subplot? In short, story-wise, do I need her?
I decide that I do. Just as it’s uncertain what the couple is discussing, it’s impossible to know if she’s overhearing something intimate and juicy, or just sitting taking a rest. And I like leaving all those questions open, so, in the picture she stays. Thus, what you see here is exactly one out of one frame(s) taken for the hell of it. Nothing was changed in post-production except a conversion to monochrome. Turns out that even the possibility of budding romance can’t survive the distraction of Mrs. Gardner’s amazing legacy seen in full color, and the mystery woman is even more tantalizing in B&W. Easy call.
As we said at the beginning, working with my own formal rules of composition, I could easily have concluded that my picture would be “ruined” by my shadowy extra. And, I believe now, I would have been wrong. As photographers, we try to look out for our own good, but may actually know next to nothing about what that truly is.
And then the fun begins….
By MICHAEL PERKINS
JUST BECAUSE SOMETHING IS GLIB OR SIMPLE doesn’t mean it’s not true. We tire of people’s pet platitudes because saying things like “get a good night’s sleep” or “honesty is the best policy” seems too easy, as if the wisdom contained in these time-worn axioms must have dried up years ago. So when I tell you something extremely “well, duh!” about photography, it won’t sound wise or profound. It will sound like something any simpleton knows. Obvious. Goes without saying. And yet..
So, here’s my one immutable truth about making pictures:
Get enough light, and you will have solved 99% of any problems that bedevil your photos.
There’ll be a brief pause here for the crowd to collectively roll its eyes.
And before we proceed further, I’m speaking primarily of natural, organic, comes-through-the-window-like-God’s-gift-to-the-world light. Most of what you do with artificial light has to do with compensating and correcting for the fundamental wrongness of the stuff. Yes, I know you have an incredible flash set-up. I don’t care.
Light is the only factor in photography that determines the efficacy of every other factor. Every major advancement in the design of lenses, recording media, and camera mechanics has been made for the sole purpose of gathering and utilizing more of it. Light alone can control how a subject is modeled, highlighted, presented. Get enough of it, and you shoot faster and simpler. Learn to shape it and you also learn how to create drama, to compose, to characterize things in precisely the way your mind has visualized them.
Light controls texture. It makes a shot either muted or loud. It can create the sensation of any moment of the day or night. It directs the eye. It makes bad lenses better and good lenses great. And, speaking of lenses, the best money you can spend on any lens, anywhere, is on how fast, how light-hungry it is. All other functions of high-tech optics aren’t worth a bucket of spit if the things can’t deliver lots of light in a hurry. Forget about chromatic aberration, vignetting and all the other headaches associated with glass: get enough light and you’re halfway home.
Most importantly, light is the only element in photography that is literally its own subject. A wonderful image can be of light, about light, because of light. So before you get good at anything else in the making of pictures, learn to gather light efficiently, mold it to your will, and serve it. Every other boat in your optical harbor will be lifted in the process.
By MICHAEL PERKINS
I NEARLY MISSED OUT. Early last evening, my wife spied an internet article on the imminent arrival of what could only be called an astronomical trifecta, a moon which, for the first time since 1866 would qualify as a wow in three distinct cosmological categories, as an oversized, or “super” moon, a lunar eclipse, and an orange-red “blood moon”, seen to fullest effect in America’s western states.
Hey, I live in one of those……
I’ll be out in the driveway, honey. For, oh, I dunno, a while….
The first, or supermoon phase of the trifecta I had experienced several times before: lunar light strong enough to read by, with time exposures of three minutes, or even less, retrieving a full range of natural color in everything from orange roof tiles to blue skies…..hours after sunset. That’s what you see up top. A manual 35mm lens (the shutter remote won’t work with autofocus, anyway), an aperture of f/5.6 for fair depth of field, and the flat top of a mailbox for a makeshift tripod and, bingo, it looks like early dusk instead of 10pm.
The second phase had to wait for the early hours of this morning, at which time various web accounts predicted the earth would interpose itself perfectly between the sun and the moon, causing a crescent-shaped shadow to crawl up the orb from the bottom, giving it a deep red-orange glow beginning at around 6:15am (which in an Arizona winter, is still pre-dawn).
As with dusk the night before, the sky, appearing black to the naked eye, would reveal a lot of blue in a time-exposure taken just before sun-up, so I elected to make the moon a small part of an overall composition instead of an isolated solo superstar. I have plenty of textured zoom shots of the moon: what interests me in such special cases is the light and hue of it in context. In this case, fifteen seconds wide open at f/2 was enough to get the major bits to register. Still too lazy to find my tripod, I subbed a folding stepladder. A matter of five minutes’ work.
I certainly plan to be around in 2037 when another “Super Blue Moon/ Bloodmoon/Lunar Eclipse appears, but in years past I also have planned to retain all my hair and teeth, and the jury’s still out on that particular quest. In the meantime, all of life is littered with wonder, so, as the old pop song sez, pick up your hat, lock up your flat, get out, get under the moon…
PHOTOGRAPHERS ARE FREQUENTLY ASKED to define a “bad” picture, or, more specifically, the worst picture they themselves ever shot. The question is a bit of a logic trap, though, since it typically tricks us into naming something that failed because the subject was moribund, or because we mis-read the light, the aperture, the composition. The trap further reasons that, if you have checked off all those boxes, you should end up with a great picture.
But all of that is bug wash. What makes a picture bad is when you were not ready to take it….. but you took it anyway.
Sometimes the problem is ignorance: you simply aren’t old or wise enough to know what to do with the subject. Other times, you have substantial barriers between you and an effective story, but you try to drill past what you can’t fix. And, you can no doubt add your own list of things that, ahead of the shutter click, should scream, “not now”. Try to make the picture before either the conditions or you (usually you) are right, and you lose. Just as I lost, in great big neon letters, with the mess you at above left.
In 2016, I visited the Old Manse in Concord, Massachusetts, a venerable colonial-era home which sits right next to the small footbridge that served as the site of the first major battle of the Revolutionary War. What excited me most, however, was that it had served as a temporary home for the young Ralph Waldo Emerson, and that he had written Nature, the first of his great works, while living there. And to really put the cherry on the sundae, the house still contains the small writing desk he used to do it.
The house is lit only with indirect window light during the day, but with a fast prime lens and a decent eye, there’s more than enough soft illumination to work with to produce decent results (see left). In fact, just before my tour was to head into the room containing the desk, I had already harvested quite a few usable shots…so many, in fact, that I was getting teased by the others in the group…the usual “oh, another picture?” stuff. Uncharacteristically, I began to worry about whether I was holding everyone else up, and thus started to hurry myself, to shoot not as I intended, but in deference to what I thought others would like. By the time I got to Emerson’s chair, the light, my lens, even my own experience were all useless to me….because I wasn’t ready to shoot….but did anyway.
And so you behold the unholy mess that resulted: lousy contrast, uneven exposure, muddy texture (is the chair made out of wood or Play-Doh?), tons of noise, indifferent angle, and, oh yeah, garbage focus. Worse yet, the psyche I’d put upon myself was so severe that I didn’t slow down for a more considered re-do. No, I rejoined the group like a polite little camper, and left without what I had come for.
And that is all on me, and thus an important entry in The Normal Eye, an ongoing chronicle which is designed to emphasize personal choice and responsibility in photography, versus just hoping well-designed machines will compensate for our lack of concept or intention. This is not easy. This is ha It’s no fun realizing that what went wrong with an image was us.
But it’s a valuable thing to own. And to act upon.
A good sunset to the naked eye, but rendered very blue by the camera’s auto white balance setting.
By MICHAEL PERKINS
GIVEN HOW MANY PICTURES YOU NEED TO SHOOT, over a lifetime, to develop the kind of eye that will deliver more keepers more often, you have to make peace with the taking of many, many images that do not, strictly speaking, “matter”. They’re either uninteresting or indifferently executed or mere technical exercises that don’t emotionally stick. However, that does not mean they are a waste of time, since the practice meter is running whether you’re making magic or mud. And with some mindfulness, you can get into the habit of harvesting something worth knowing, even in the most mundane of shoots.
Just straying from your standard procedures in very small particulars can show you new options for shaping or salvaging a photo. In the two comparison shots seen here, there is only one thing that distinguishes the first picture from the second one; the camera’s white balance setting.
I just am not a fan of shooting on auto modes or default settings, for the simple reason that they are designed to produce average, not extraordinary pictures. They prevent us from making a total dog’s breakfast of an image, but they also deny everyone choice except, weirdly, the camera.
On the particular shooting expedition seen here, I was seeing a warm, full-on golden hour of pre-sunset, the rich oranges and browns visible even in shade. However, the camera’s auto white balance, which reads the temperature of light to “see” white the way we do, was delivering a lot of blue. The simple switch to a “shade” setting rendered even the deepest shadows as warmly as my eyes did.
The point is, this image was part of an uneventful afternoon’s casual stroll, yielding nothing in the way of “legacy”-level work. It was simple journeyman practice. What makes such tiny technical decisions valuable is how instinctual they can become when repeated over thousands of pictures, how available they become as tools when the picture does matter. Pictures come when they’re ready. With luck, building on the lessons from all those “nothing” pictures mean you’ll be ready as well.
By MICHAEL PERKINS
I MAY BE OVER-COMPENSATING A BIT OF LATE, making the kind of correction a newly-minted driver makes when he steers too far in one direction, then steers just as radically in the other. Five years ago, my photography was caught up in the feverish rescue of detail from dark places. I embraced HDR (High Dynamic Range) imaging as a way to illuminate every part of a frame, fearing that important information was being lost in the shadows. I was consumed with delivering what the camera was inefficient at seeing, and spent a lot of time making exposures “balanced”, making sure everything in them was viewable.
These days, by contrast, I seem to be all about the dark, or least its creative use as an element in more and more pictures. Darkness is a lot more subtle than that which is visible, as it merely hints, rather than states, information. I see darkness now the way that graphic artists might have several centuries ago, when the recording medium might be a treated paper that was all colored, or all dark, and the lighter values of a composition might be drawn onto that medium with white paint or chalk.
With such methods, early drawings by Michelangelo and others saw darkness as the start point, with so-called “positive” values sort of extracted from it. In photographic terms, I seem to be taking the same approach to a lot of pictures recently, beginning with a sea of undefined murk and pulling just enough information out of it to create a composition. Whereas, just a few years ago, I was summoning forth every hobnail of detail possible out of a frame, now I am mining the very minimum. I want the unanswered questions posed by darkness to remain largely unanswered. Too much detail means too much distraction.
The practitioners of chiaroscuro (artists like Rembrandt and Reubens) also started with a dark canvas but used light, usually from a single source such as a window, to model their subjects, to give them a three-dimensional quality. I sometimes do that too, but mostly, I am asking the viewer to enter into a partnership with me. The terms: I’ll show you part of the story, and you supply the rest.
Where will I be in the next five years? I’m totally in the dark.
By MICHAEL PERKINS
ONE OF THE MOST EXHAUSTIVE portrait projects in the history of photography was August Sander’s Face Of Our Time, a collection from the 1920’s of sixty formal portraits of German tradesmen of every class and social station, each shown with the tools or uniforms unique to his chosen profession. Sanders photographed his subjects as documents, without any hint of commentary or irony. The story in their pictures was, simply, the visual record of their place in society and, eventually, as cultural bookmarks.
Since Sander’s eloquent, if clinical work, similar photo essays have taken on the same subject with a little more warmth, notably Irving Penn’s Small Trades portrait series from the early 1950’s. Like Sander, however, Penn also shot his images in the controlled environment of the studio. In my own work, I truly feel that it’s important to capture ordinary workers in their native working environment, framed by everything that defines a typical day for them, not merely a few symbolic tools, such as a bricklayer’s trowel or a butcher’s cleaver. I also think such portraits should be unposed candids, with the photographer posing as little distraction as possible.
I really like the formal look of a studio portrait, but it doesn’t lend itself to reportage, as it’s really an artificial construct….a version of reality. So called “worker” portraits need room to breathe, to be un-self-conscious. And, at least for me, that means getting them back on the street.
By MICHAEL PERKINS
THE POST–PROCESSING REVOLUTION wrought by the introduction of Photoshop in 1988 has so profoundly influenced the act of picture-making that many shooters think of the program as half of a complete two-step process of photography. In Step One, you shoot the image. In Step Two, you fix it.
However, being conversant with more of the menu options built in to nearly every level of camera in use today can mean solving most “post” dilemmas without resorting to Photoshop’s full suite of solutions. Just as you change lenses less the more you understand what lenses can be stretched to achieve, you can avoid the extra step of computer-based tweaking the more you understand what’s already available while your subject, your shooting conditions and your mental presence are all in play. Some would argue that such adjustments would be more finely attenuated working with a RAW file in Photoshop than by fixing flaws in-camera with a JPEG, and you have to decide where you come down in that debate.
Let’s take color as one example. A great many photographs with off-kilter values are corrected in Photoshoppish apps, yet can be quite satisfactorily fixed in-camera. White balance settings allow you to pre-program a number of light temperature pre-sets that make your camera “see” colors as if they are occurring in sunshine, shade, or a variety of artificial light sources. But even if you shoot everything on the “auto” white balance setting and get the wrong colors occasionally, there is still a way to repair the damage without resorting to Photoshop. What Nikon and Canon both call color balance allows fairly fine-tuned adjustments to get the hues to look either (a) more like you saw it, or (b) the way you wish it had looked.
The shot at top, adjusted with Nikon’s color balance option, produced the warmer look in the bookshelves that would have resulted if the light coming through the window had been warmer. In the original image, taken with an auto white balance setting, the camera, far from “guessing wrong”, actually recorded the room light as it appeared in reality, since the sky was severely cloudy and was a little blue in cast. However, with the in-camera color balance tweak, no Photoshop intervention was required. Moreover, I could check my work while in the moment, a handy thing, since tours were moving in and out of the room all day, meaning that, if I wanted to shoot the room (nearly) empty, I had to work fast.
Digital photography’s original bragging point over film was the ability to shoot, fix, and shoot again rather than rely on the darkroom to rescue tragically few of our miscalculations. Working our in-camera menus for all they’re worth helps deliver on that promise.