By MICHAEL PERKINS
ONE OF THE EASIEST THINGS TO LEARN ABOUT IN PHOTOGRAPHY, apparently, is what you’re doing wrong, or so a casual stroll through the Googleweb would suggest. The internet is lots of things, but starved for opinions it ain’t, and so one of the fattest search yields you’ll find online consists of lists, endless in number, on how we are falling short as shooters. You may have sought them out yourself: “Ten most common mistakes”, “the beginner errors everyone makes” “twenty things not to do with your pictures” and so on into the night, rosters of failure and shame compiled by everyone from prominent pros to the village idiot. Actually, that’s unfair. Likely the village idiot is having too much fun taking photos to worry a lot about whether he’s doing it right. As a lifelong village idiot, I can attest that it takes one to know one.
Many of the sins, both venial and mortal, that make up these “to-don’t” lists are of a purely technical nature, such as picking the right aperture or making sure that you haven’t posed a subject in such a way as to make it appear that a hibiscus is sprouting out of the top of his head. Surprisingly, there are fewer suggestions about composure…what makes it stark or busy, what makes it fail to engage or confusing to “read”…than you’d suppose. Almost none of these lists actually address ideas or motivation. And so I mainly regard all such lists with a bit of an arched eyebrow, for the simple reason that they are so very practical. Practical and art are not often on speaking terms.
Orson Welles, a directorial virgin when he arrived in Hollywood to make Citizen Kane, was told by his cinematographer Gregg Toland that there was nothing about shooting a picture that couldn’t be taught in a weekend. Welles’ verdict: Toland was right. Still photography is similar: the mechanics of merely getting a picture into the box are not like the procedures for splitting the atom: much of the moves we make to make an image are but variations on the moves we’e always made, and even without formal instruction, digital has made the learning curve so short that you can muster (if not master) the basics in a few days. It’s what to do with all those technical tips that separates the men/women from the boys/girls, and the endless online (or printed) to-don’t lists don’t even address that amidst all their edicts on lighting and lenses. Because they can’t. Because it can’t be taught like the steps of changing your oil can be taught. It can be learned, but only from yourself. Certainly, if you can’t see, you can still shoot. It just won’t matter that you did, that’s all.
The reason arbitrary rules don’t work with art is because art works best when rules are broken. If all we had to do with a camera was faithfully record light and dark, we would eventually, with practice, all have the same level of excellence. But we don’t. And we can’t. Sometimes a picture just works, despite some line judge saying that it’s too dark, too blurry, or too busy. And if a picture does not transmit your passion to someone else, then all the technical excellence in the world can’t make it connect any better. Why don’t all the do-and-don’t lists talk about motivation, or intention, or just the habit of shooting mindfully? Because that is a matter of mystery beyond measurement. A picture is built, not taken. It happens within the eye and mind of the shooter, and sometimes leapfrogs over all the correct techniques to arrive at a result that is too personal to be contained in a rule book.
By MICHAEL PERKINS
IN READING ALICE IN WONDERLAND as a child, I tried to imagine myself in the heroine’s place as she was buffeted about between strange creatures and bizarre environments. I wasn’t sure how I would react to a talking White Rabbit or an infant who turned into a pig at a moment’s notice, but I felt that, if I had to improvise while being alternatively enlarged and shrunk, as poor Alice was, that I would be ingenious enough to master my situation. All those “eat mes” and “drink mes” would have been tough to manage, for sure, but my natural explorer’s spirit would, I was confident, prevail in the end.
The current international cabin fever has made me think a lot of Alice lately, both Tiny Alice, being swept away in a torrent of her own tears, and Overgrown Alice, straining at the cramped limits of a house she has outgrown. You can see where I’m going with this. As photographers, we often are outwardly biased. The next great picture is somewhere “out there”. We are just one mile and a quick left turn from something stunning, and, in most cases, it’s beyond our own back yard (apologies here to Dorothy Gale as well). Add a forced quarantine into the formula, however, and we feel, at some point, like Overgrown Alice, thrusting a hand out the window of a micro-house. We fear there’s “nothing to shoot”. Our typically cheery disposish becomes dark and churlish. We start to watch daytime TV and bake.
Overgrown Alice’s constantly morphing dimensions made her constantly re-evaluate her world by the latest shifting data, with the very special challenge of being crushed by its shrinking confines. Photographers who are locked inside are likewise forced to re-think their relationships to objects in their environment…to re-contextualize everything. A flower under the macro lens becomes an entire botanical garden. Objects too familiar to be noticed under normal conditions become fascinating examples of design and pattern when seen from a different angle or distance. Anything and everything can become completely new because we have been forced, through either genius or boredom, to change our perceptions. A web search of the phrase cabin fever photography has become a major trender in recent months, and with good reason. We can’t go out to shoot as we’d prefer: we have to turn the camera further in. In so doing, we find ways to get more and more out of less and less. We discover, as we must regularly do as photograpers, that our relationship with the world must be as flexible as Alice in all her sizes, to guarantee perpetual refreshment of how we see. We gotta get curiouser and curiouser.
By MICHAEL PERKINS
OBVIOUSLY, OUR CURRENT DILEMMA ISN’T THE FIRST TIME PHOTOGRAPHERS ACROSS THE WORLD have been fixated on walls. Wars, natural disasters, imprisonment, confinement of any kind present unique challenges of access and opportunity for shooters. Isolation is often the barrier between story and storyteller. If only we could see around, past, under, we could complete our narrative. But the Great Hibernation we are all undergoing at present is a little different. Separating inside from outside is one thing. Separating each of us from all of the rest of us is another kind of isolation altogether.
Our imaginations can fire fantasies about things we can, for the moment, not depict directly. When memory and speculation fail, those of us who are physically hemmed in head for the windows, those finite little tele-screens that open onto at least a portion of the greater world. What are the neighbors up to? Are the blossoms out? Is the mailman coming today? Does the world look, in any way, normal?
And then there are those windows that open to an airshaft, a blank wall, or alleys ( which are, themselves, windows of another kind). In my house, I have one such “dead” window, which, normally, is only used as a light filter, as it’s framed in thick louvers designed to let in illumination even as it keeps the midday Arizona heat out. The louvers only come wide open when additional light is needed for a room that acts as a default natural-light studio of sorts. Thus, most of the time, the fact that it delivers a particularly worthless view is simply forgotten.
But a few days ago, I wanted to see that view, to feel it as a metaphor or a link to everyone else for whom being able to see out their windows is, in some ways, worse than confinement. A tease. Information without value. Here in the southwest, many residential homes deliberately hide their side and back yards from view with masonry barriers. We are so wall-oriented that the things really become invisible. We learn not only not to care about what they conceal but about them as concealers. But that’s the way our world typically works.
Somehow, then, maybe out of an attempt at solidarity with all the other stranded wall-gazers in this Weird New World, I wanted to make a picture of what it feels like to look out upon nothing, to have the world walled in, and then walled in beyond that. The fisheye lens allowed me to frame the louvers and the sill in the same image in a way that made the opening narrow even as it was strangely wide. Barriers and photographers make lousy companions. We always want them all down, even they conspire to keep us ever within. Maybe that’s a kind of definition of art.
And maybe I’ve just been in the house too flaming long.
By MICHAEL PERKINS
MOST OF THE FORMAL TRAINING IN PHOTOGRAPHIC PORTRAITURE rightly emphasizes the eyes, those so-called “windows of the soul”, and it’s hard to argue with their weight as indicators of the inner mind. But, in reality, every facial feature can be eloquent in conveying that which comprises the individual: love, fear, hate, happiness…whatever mix of outward cues that connote personality in a photograph. And it’s also true that, generally speaking, one’s face is a more reliable identifier of traits than, say, an arm or an ankle. However, portraits are loaded with information that occurs from the neck down as well, and a good deal of it can be mined for solid indicators of just who it is we’re looking at. And while we concede that most of us would never deliberately cut the top off a subject in everyday practice, (as seen here) doing so, at least for this exercise, illustrates just how much data can be left to work with when we, in a sense, lose our head.
Clothing, regalia, body language, even something as basic as color…all these come ripe with codes about the life of the individual under consideration, and can be as valuable in portraiture as the face itself. Now, the idea of recommending that you re-examine your favorite portraits without considering their facial information is not to convince you to choose someone’s suit or hand over their face, but to increase our consciousness of what besides the face can amplify and deepen our sense of the people we photograph. I have seen many images where the depth of field was so narrow that, from the eyes outward, most of the face is largely softened, with everything else outside that narrow radius so blurred as to yield virtually no information. And, yes, that approach works wonderfully in many instances. Still, I am the very last person to propose any ironclad rule that always works or never works, since I believe that absolutes have no place in art. Every case must be considered separately.
So long as people are much more than merely their faces, I believe that everyone who works in portraiture should cultivate the habit of looking at every subject as a unique mix of elements, resulting in a range of pictures where sometimes the face is everything, or is sometimes just a thing among others, and occasionally is of no importance at all. The eyes may be a vary reliable window to the soul, but there are always other kinds of eyes, other kinds of windows.
By MICHAEL PERKINS
I MAY NOT BE PHOTOGRAPHER ENOUGH TO FOOL THE HUMAN EYE, but on a good day, I can apparently con Photos for Mac. I know this because I caught the program using its own “logic” to arrange images into categories for which, truly, they don’t qualify. One such category is “panoramas”, a folder which Photos has chocked with pictures that were not made either with a true panoramic camera or a stitch-up phone app, but merely by cropping larger shots. The thing is, such clipped art work as panoramas because of what they ask of the viewer’s eye.
Most of my landscapes, in town or out in the country, are shot with a 24mm f/2.8 wide-angle, which is my go-to for urban work. It adds little in the way of barrel distortion if you aim it right, and allows for very inclusive framing when you’re in cramped quarters (lower Manhattan, I’m talking to you). It’s also as sharp as a diamond, and so, at its sweet spot of efficiency (around f/5.6) it’s a snap to focus manually. It’s a sophisticated lens that performs almost as easily as a point-and-shoot, and even though landscapes shot with it will result in a lot of excess detail, this one lens will do nearly 100% of what I need on an average day. And since there’ll often be way too much info in the landscapes, a-cropping I will go.
Panos are often tiresome because there simply aren’t a lot of linear subjects that are uniformly fascinating from left-to-right. I mean, if you’re bent on having all of General Grant’s 103rd regiment muster up in front of you, or if you’re trying to drink in all the delicious detail along the Cote D’Azur, it can be worth the extra effort. But this is me confessing that most of the shots that my Mac calls “panos” depict decisions made after the shutter snap, and only then because most of the useful visual info in the shot turned out to be linear in nature. I don’t intentionally head out of a morning to “do a pano”, and, in making landscape shots with other objectives in mind, I often don’t see, in the moment, the super-wide image lurking within the greater one. But on days when the camera gods are in a good mood, you find that, even in paring away half of your original, you’ve actually rescued something workable inside your master frame.
In the two examples seen here, the contrast is fairly obvious. The human activity, the line of the boats and, beyond, the skyline of the Brooklyn shore seem to be primarily inviting the eye into a left-to-right reading of the image, whereas crowding the frame with extraneous structures, more boardwalk lumber, or extra sky really saps the picture of any impact it might potentially have, and so, out come the scissors. I also believe that giving the eye more stuff to process means it will do some of it badly. Just as a portrait is usually made more effective by framing its subject mid-waist to head only, so do landscapes often benefit from cutting off their top and bottom thirds, depending on the image. I’m not one of those faux purists who believe you’ve “cheated” by cropping a picture after it’s made. I believe that resizing the frame is part of the making, albeit a part that takes place after the click.
So, yes, my trusty wide-angle is, in most cases, also my trusty makeshift pano lens. I’ve done the same thing with fisheyes, cropping them to highlight the super-wide center of a shot to the exclusion of the extreme bends at the edges. In many such cases, I am trending toward carrying less and less glass with me and getting more and more flexibility out of what I do take along, a development applauded by my aging neck and shoulders. It may be true that you need to suffer to be beautiful, but in the name of a healthy spine, I’m going to keep testing that theory.
By MICHAEL PERKINS
JUST AS THE TAKING OF A PHOTOGRAPH IS ACCOMPLISHED IN AN INSTANT, so too is the messaging that the resulting image conveys to the viewer. The impact of a picture is immediate, established within nanoseconds of the eye’s initial contact with it. Additional viewing and pondering may, certainly, reveal deeper truths about a photograph, but I firmly believe that the main love it /don’t get it choice about a photo is made by the brain at first glance.
That said, information must be arranged in such a way as to expedite this choice. That’s the art of composition. What stays in, what is excluded, where the frame hits, and what its limits imply. The nature of the information is determined by the impact of light, which shapes and defines. That is in turn aided by texture, which adds dimension and context in how new or old, rough, smooth, substantial or ethereal things appear in the image. And finally, mood and aesthetic are established in the range of color or tonal data.
All of these elements are created by a series of decisions on whether “to do” or “not do”. Which is to say that all photographs have an assembly process. Steps. Priorities. More of this, less of that. The fact that the best photographers learn how to navigate all these decisions instantaneously is really a kind of miracle. Take the truly fundamental choice of color, for example. Not only do a picture’s hues have to be conceived in the mind before they’re attempted in the camera: they must be refined enough for the shooter to choose how all the shaping elements described above work in conjunction with each other. Think of the graphic equalizers on our old stereos, each ‘band” or part of the hearable spectrum trimmed or maximized to get a “mix” most pleasing to the ear. In visual terms, color is a key choice because it is an element that can shape so many other elements in turn. In the above image, color can resonate with memory and emotion. It can render what we term “warmth”. It also aids in the perception of depth. Consider as well that color has only become the default option for our photography in about the last sixty years. Before that, due to technical challenges for film emulsions and printing processes, it was a luxury item, even a novelty for many.
“Going back” to monochrome, the original default option for all photography, means actively recognizing what kind of information is lost and what kind of impact is gained by eschewing color. Is the image strengthened or weakened with its removal? Is converting a color shot to b/w as an afterthought (as I’ve done here) less effective than intentionally shooting the original in mono? Are the remaining tones strong enough to convey your message? Is one tonal palette more reportorial or “authentic” than the other? And, above all, what if the choice you’ve made (color or no color) isn’t the choice your viewer makes (in the case of this pair, for example, my wife prefers the color version, although “they’re both nice”)? Photography is about making decisions and learning to live with them. Or just canning the entire thing and trying again.
“We must remember that a photograph can hold just as much as we put into it” Ansel Adams once wrote, “and no one has ever approached the full possibilities of the medium”. Which is a lot like God saying, “hey, don’t get hung up on making just one kind of tree”. The possibilities in making pictures are indeed endless, but each are rooted in our very purposeful choices.
By MICHAEL PERKINS
THE END OF A DECADE is often used as an arbitrarily mile marker to measure the effects of a particular parcel of time. The requisite lists of “bests” “biggests” and “top” accomplishments or events, trotted out in an attempt to define an era, are as irresistible as they are meaningless. The appeal is understandable: people, including photographers, love trying to make sense of something, especially their own work. But ranking one thing as better than another is not nearly as important as noting contrasts in one’s output over time. Simply put, we produce different work at different periods because we are actually different people.
Looking at my own stuff between 2009 and 2019, I can see several shifts in emphasis that have shaped the way I make pictures today. For example, over that period, I re-embraced prime, or single focal-length lenses, which had been a fundamental part of my film years but which temporarily got supplanted by the first kit lenses and moderate zooms of the digital era. I also came to greatly reduce my use of ultra-wide angle glass, settling on 24mm as about as wide a frame as I would ever shoot. Also, after flirting with auto and semi-auto shooting modes with my first DSLRs, I resumed another old school habit, that of shooting on full manual. Along with millions of others, I saw my work with cel phone cameras evolve from “just in case” or “emergency” shots to images that I would purposefully plan, preferring some of the results over those from my “real” cameras. And, overall, I tried to stop just short of a full-on minimalist approach to gear, trying to do more and more with less and less. That meant eschewing flash almost completely, and choosing in-camera technique over post-processing whenever possible. For me, the real magic still happens inside the box, one momentary impulse at a time.
The biggest change for me over the last ten years, however, was far more fundamental, as I seem to have completely reprioritized what I look for in an “acceptable” picture. As the decade began, aware as I was of the contrast limits of the first digital sensors, I sought a way to rescue every single iota of detail from the darker portions of my pictures, even as I accented sharpness and focus with near-religious zeal. That led me to work heavily with the HDR platform Photomatix, taking multiple exposures of single subjects which were then blended to amp up every grain of sand and woodgrain. The pictures looked dramatic in their “equalizing” of all tones, from dark to light, but which could often result in an over-cooked, glowing surreality. A slightly more restrained 2011 example of my HDR “period” is shown above.
By contrast, around the middle of the decade, I began to value subjects for a different kind of narrative impact, things that were allowed to be softer or even selectively underexposed. In a sense, I started to regard sharpness and focus as negotiable for certain pictures, not merely allowing backgrounds to fuzz out in contrast to foregrounds, but using Lensbaby and other “art” lenses to select things within a single foreground plane that could be softened in reference to others in that same plane…assigning additional focus priorities within the overall focus strategy. An example of this approach is seen here, in a crowded San Francisco street scene from earlier this year.
Over the last ten years, my images, especially the urban scenes, have gradually taken on a looser look, a more dreamy, if less “realistic” aspect. These new pictures are not just “captures” of things that pass in front of me, nor are sharpness and perfect exposure the only objective in photographing them. Instead, I like to hope that their non-specific quality will invite a more interpretive look from the viewer. Since everything isn’t spelled out or recorded in such photographs, there’s breathing room in them for anyone to supply his or her own detail (or not). I don’t always produce pictures like this now, but I am far more open to the idea of relinquishing control than I was ten years ago. Progress? Who knows? End-of-decade lists don’t really make a statement about “better” or “worse”. They are only reflections that, as the mind is always in flux, so, too, must any products of that mind be.
Happy New Year.
Happy New Pictures.
Happy New Adventures.
By MICHAEL PERKINS
JUST AS NUMBERS AND LETTERS ARE SYMBOLIC OF THINGS LARGER THAN THEMSELVES, cues in photography act as a visual vocabulary, a kind of shorthand for more complex ideas. This way of showing ideas through a commonly recognized series of signals means we don’t always have to explain everything from scratch every time we create a picture. In order to convey the idea of a train, we don’t have to show the entire history or design of locomotives: a railroad crossing sign sells the concept immediately. And so, as storytellers. we use symbols to get to the point faster, and, nearly two centuries into our shared art, the shortcuts get more compact and more immediate with the passage of time.
One of the ideas that we convey in this way is the idea of limits or barriers, especially images that show confinement or limited admittance. Signs, lights, gates, traffic cones, warning signals, all convey a ton of information in a short space of time…everything from beware to keep out. These cues also allow a photograph to be all shorthand, to be about the limit or barrier. The image seen here adequately conveys the idea of a physical limit with a very meager amount of data. Even resolution itself has been relaxed, leaving just the suggestion of textures that are typically rendered in fine detail. There are no clearly readable signs, no clue to what the viewer is being kept from, no idea of whether the gate represents safety or repression. And while this symbol conveys a limit on our movement; everything else is open to interpretation. In some cases, not revealing what lies beyond the gate may make for a more intriguing image than if the photographer were to show everything in full. The beauty of this process is that most photographic ideas can be expressed with a very spare inventory of information, as our eyes have learned, over years, to see interpretively, enabling us to decode what the photographer as encoded. It’s a very intimate relationship.
All of which, I believe, argues for making your picture’s case in as few strokes as possible. We still pay more attention to framing, i.e., what fits in the rectangle, versus composition, or the arrangement and selection process within the borders of our pictures. We sometimes overcrowd and oversell messages which may be conveyed more effectively with much less information. Learning how to say more with less comes slowly; we need to build up a substantial log of attempts before we can begin to tweeze out the most effective amongst them. But that is the difference, as we often say, between taking a picture and making one, or the difference between pictures that are merely nice and those that are essential.
By MICHAEL PERKINS
FOR PHOTOGRAPHERS, THE SOCIAL-MEDIA EQUIVALENT OF SMACKING SOMEONE ON THE BACK and saying “Attaboy” is affixing the remark “Great capture!” to your “like” of another person’s images. This is meant to be a compliment, but I think it is misapplied. Of course, on one level, I admit that carping about one little word constitutes world-class nitpicking on my part. On the other hand, I think we need to think critically about what happens in the making of an effective picture. It’s an active, rather than passive, process.
In one sense, a camera does, in fact, “capture” a scene, snatching a millionth of a minute from its place in the steady flow of time. But seldom does a golden moment or lovely subject present its best self to us, ready to be harvested, requiring only that we lower our butterfly net. Photography is a much more deliberate art than that. In fact, we often happen upon images of things that are not yet “ready for their close-up”, in that the first way we see them may not be the best way for us to show them to others. Long before the snap of the shutter, we select our angle, our composition, our light, and even reject all of those choices and make them all over again. We are carefully crafting the best way to reveal something….not merely happening by and passively recording it.
In this spirit, the word “capture” simply isn’t strong enough, as it implies little more than luck in the production of a great photograph. In fact it is really describing a snapshot, in which something very great may have been gathered, but without much in the way of effort. It’s like complimenting someone on catching a baseball no one was expected to catch, a celebration of good fortune rather than skill. Photographs aren’t made merely by grabbing whatever the camera is pointed at: they’re made by a selective process of saying “yes” to some elements by including them in the frame and then reaffirming those elements even further by saying “no” to many other elements that might otherwise clutter or complicate the communication between image and viewer.
Ken Rockwell, a pro photographer whose www.kenrockwell,com site also functions as an online clearing house of technical information on the specs of various camera manufacturers, occasionally steps away from his role as Lord High Adjudicator of gear and reminds his readers of the true essentials of their art. In these random pep talks he will often insist that, in the end, nothing….no lens, no camera, no shiny new toy.. can supplant the human equation in the making of pictures. One of his best such sermons illustrates (far better than your humble author can), just what an “on purpose” process is afoot in the best pictures, as in this paragraph, where he discusses the difference between composition and the mere act of framing:
“Composition is the organization of elements within a frame that leads to the strongest, clearest, cleanest, simplest, most well-balanced and therefore best picture. The best composition is the strongest way of seeing a subject. Framing is what you do by zooming in and out, by moving the camera up and down and left and right, and by rotating it to any angle, including vertical and horizontal. Framing has almost nothing to do with composition, but sadly, few photographers realize this. Framing can’t do much of anything to change the relationships between objects. Framing is easy. One usually can frame a picture after it’s shot by cropping. Composition is very difficult. Composition is what makes or doesn’t make a picture. Composition is the organization of elements in the picture in relation to the other elements…..”
Nothing, of course, will ever eradicate all the “great capture” salutes from the interweb, and maybe we should just stipulate that a compliment is a compliment. But I love to emphasize, since it is so important, that what you all do in the creation of wonderful images is purposeful, not random, that great pictures seldom just jump into your camera. When a composition is eloquent, it is usually a photographer, and not a camera, who has given it voice.
I HAVE NEVER BEEN ABLE TO FIGURE OUT WHY MANY HIGH-END CAMERAS lack a feature which is native to many of the most basic cel and film cameras….that is, the option to compose and shoot a square frame. The simple 1-1 format, which was, for decades, the default mode for cameras in every price range, is, for many contemporary photogs, a nostalgic novelty. Why?
And, yes, I know how astoundingly easy it is to reframe an image as a square in a gazillion common post-processing platforms. That’s not the point. There are times when the ability to concretely see (rather than imagine) a composition within a square can lead to a superior image. If I modify a rectangular picture to capitalize on the “inner square” of strong impact within the frame, I’m really retrofitting a picture that worked out less than well when I shot it. To compose and shoot in a square, I have to be constantly mindful of how space is placed and balanced…that is, I have to be doing nearly everything on purpose, based on what’s in front of me at the moment. That is not the same thing as salvaging a usable square from within a composition that I originally planned in a completely different way. The image you see at left was shot in a particularly narrow side street in San Francisco and was originally rectangular. In editing, I immediately saw that its main power was in a square extracted from its center, but had I been doing the master shot as a square, my intent for it would have been measurably different. Different by mere Inches, maybe, but different.
Or picture it this way: Let’s say I go out purposefully looking to bag a creel full of sea bass, versus fishing lazily off the pier and accidentally reeling in a rubber boot that has a sea bass inside it. Either way, I get sea bass. Makes no difference to you? Well, it does to me.
For those good with their hands, the WeberNet is filled with tons of workarounds to pre-mask or otherwise rig a square frame in cameras that were not created to offer it as an option, but I don’t really relish whipping up a craft project just to take a picture. That, to me, says the camera was designed without the features I wanted, so I have to be a kind of sub-contracted re-designer to make the thing work the way I need it to. Again, this clearly does not bother certain people, but it rankles me that what I want in my high-end camera is already included in a $50 low-fi plastic box camera like the Diana or, well, um, every cel-phone camera ever made. So-called “real” cameras have been weighted in favor of rectangular framing since the first days of 35mm film, but I think that such an exclusive bias has robbed photographers of a potentially powerful tool. And while, even as I write this, I can hear an everlasting chorus chanting, “but you can fix it later”, I’d rather sing my own tune, in my own key. Equipment is about abetting intent, and without intent, all our best photographs are just happy accidents.
By MICHAEL PERKINS
FOR NARRATIVE PHOTOGRAPHY, THE MOST COMPLETE CONTROL IN AN IMAGE can never consist merely in the mastery of technical factors like aperture or exposure. Depending on what kind of storytelling your pictures are about, those elements are certainly important, but, to my mind, Job One is always about control of the frame. The selection of what’s in or out of that space is the first step toward setting terms of engagement for a given picture. It is your audience’s cue sheet for what’s important to look at, the main argument for your message. Own the frame and you own the viewer’s eye, as well as whether it focuses precisely or meanders all over.
The word “frame” is, itself, a little vague in this context. Photographs are not only framed by the physical confines of the viewing area, say an 8 x 10 print. There are many ways to subdivide the space within the image to create frames within frames. Frames can be any line or demarcation in the photograph which isolate or amplify information. Framing does what you might do if you were verbally narrating or captioning your message, only it acts in a purely visual manner. Of course the physical limits of your final photo create mystery or mood merely by themselves, as the eye will naturally ask what is happening beyond the limits of the physical confines of the picture. But even inside the “hard” edges that are printed or projected, data can be revealed or concealed by what surrounds or delineates it.
Framing is a little like capitalizing a letter at the head of a new sentence. As seen in the above picture, with some help from either selective focus or silhouetting, it can also create a perceptible distance between foreground and background, a kind of faux 3d that imitates the way actual stereo photographers are taught to compose to maximize the effect in a flat medium. In this specific case, the mother and son are separated by interior framing from the greater part of the composition, held in place between the tree at right at the stone wall beneath them. This acts as a dividing line between light and dark, major information and minor decor. Framing is a way of dividing your image into active and passive information, or prioritizing its components. What data gets left out, then, is as important as what gets left in, since both decisions can spark speculation in the viewer. A frame is like a proscenium where the audience both concentrates on what’s in front of the curtain and speculates about what’s behind it. The frame is the terms of engagement for a photograph. The clearer those terms, the more immediate your picture’s impact.
By MICHAEL PERKINS
I BELIEVE THAT PHOTOGRAPHERS HAVE A NUMBER OF INTENTIONS that can be set for their images, with only one of them being the raw product of original shots. Certainly we all hope that we’ll hit a perfect storm of equipment, conditions and executions when first we click the shutter, but we have all also learned to set a number of later intentions for those same pictures, strategies that are hatched long after they are in the can. That’s the all-too-human gap between what we meant to do and what we actually achieved, which sets us looking to re-frame our projects from “rescue” missions to “salvage” missions, otherwise known as There Must Be A Usable Picture In Here Somewhere. One man’s afterthought is another man’s Photoshop, and so forth.
Suppose for example, you’re in the position of your humble author, who, several years ago, started his day in Manhattan with an 18-55 kit lens…..ideal for getting wide compositions in close quarters and such. You suddenly decide to add a side-trip to Liberty Island, a completely different shooting situation that may, in fact, distance you from your main subject. Yes, a truly wide lens certainly shows lots of touristy “stuff”, including Lady Liberty herself, her pedestal, all the visitors in the area, the occasional tree or building….a lot of everything. But even “zoomed in” to 55mm, the statue will not seem close at hand or, if you like, intimate. You didn’t know beforehand that you’d need a telephoto and so you don’t have one. However, being here isn’t part of your daily, or even yearly ritual, so you will likely be going for broke, finding the real core images later, through cropping. Your in-the-moment control has been compromised, so your revised plan is to recompose all the shots later. And hope.
Cropping can become a source of photo-snobbery in some circles, since, of course, true geniuses know instinctively how to compose a perfect frame every time, a notion which, romantically, is appealing, but pragmatically, is poppycock. Paring away non-essential parts of an image to amplify what’s left is not a sign of weakness, since the final edit must, eventually rise or fall on its own merits. In this exercise, it’s pretty obvious that the statue is the main headline, no disrespect to hot dog stands or strollers full of infants. So the first cropping decisions are easy, unless you specifically came to snap pictures of grass or sidewalks. But now, within that new work regimen, what parts of the statue are needed most? Is the bottom half as dramatic, or as revelatory, as the top half? How do you want the viewer’s eye to travel, horizontally or vertically? If you had been equipped with a zoom, what would your most instinctual composition? Is the statue to be paired with other elements to demonstrate perspective or scale, or does it pack more punch in isolation?
The cropped monochrome shot seen here is also, incidentally, an argument for shooting at the widest, most dense file size you can, so that image integrity is preserved, even with a dramatic loss of data. On this occasion, my “master” shots, seen at upper left and taken at ground level, were 3264 x 4928 pixels in size, whereas the drastically cut b&w version is still fairly solid at 2291 x 1496. A little processing was also used to cosmetically disguise the minor quality loss. The reason I am beating this particular drum is not to say that, with this stunt, I pulled some kind of rabbit out of my hat, saving a formerly useless picture. These particular images are not “keepers” per se, but can serve to remind me that the intention of a picture is not determined solely in the camera. Sometimes your best ideas for an image mean using imperfect first takes and seeing if they’ve missed the mark by millimeters or miles. It can mean either happy accidents or tragic misfires, but both outcomes afford you education, and that’s not nothing.
By MICHAEL PERKINS
THE FIRST TIME I SAW THE STATUE, situated at the side of a newly opened bookstore, I thought it looked a bit…lonely, rather like the first chair you move into an otherwise empty apartment. The sheer amount of sidewalk and parking lot surrounding the bronze figure of Mahatma Gandhi made it look like someone had delivered it to the wrong place, and was perhaps returning at some future time to see it on to its rightful owner. And while I certainly have reverence for the eminent leader as, well, an eminent leader, I would have thought a more predictable bust of Poe or effigy of Twain might have made a better outside advertisement for the tomes within.
Then, a year later, I got a second chance to see the possibilities.
In the intervening period, and as they are wont to do, a very lush desert bird of paradise bush had sprung up, flowering fully by the end of this summer, nearly obscuring the Mahatma and placing him in a very different kind of visual space. Suddenly I visualized a design, or at least a design idea, for an image. In traditional Indian art, the same flame-tip orange found in the shrub’s flowers are a very dominant color, symbolizing sun, flames, birds, and the raiment of various gods. The sea of blossoms now fronting the statue seemed less to me like plants and more to me like banks of fire, or oceanic waves, or those brilliantly colored clouds of dye dust billowing up during celebrations and rituals all across India. I began to imagine Gandhi as a mystical figure emerging from those clouds, as if released from the bonds of time, or maybe even as Shiva himself summoned him forth. The problem with this whole conception now became how to render something fanciful with a machine (the camera) whose default is merely to document.
But, of course, that was the fun of it…
I had one very fortunate ally in the fading, pre-sunset light, which amped up the orange in the blossoms and also bounced that same color off the shiner portions of the statue’s bronze. I also figured that the flowers on the bird of paradise might be more suggestive of movement if they weren’t rendered in absolutely sharp focus, so I opened my lens all the way to f/2, shrinking my depth of field to almost nothing. I then concentrated any sharpness to be had on the statue’s head alone, isolating it in a kind of focal sandwich with the softened foreground and background as the “bread”, if you will. The slight glowing affect achieved when shooting wide open on this particular lens (A Soviet-era Helios 44M) also helped the dreamlike quality suggested by what I saw in my mind. The result is not a technically perfect realization of all this, but it at least records the rudiments of my idea, much like a sketchbook “rough”, a field test of the idea that I may refine later.
The only really important thing here was in reminding myself that the addition of a single new element in our view of the familiar can substantially expand one’s options in photography. The newly added straw may not break the camel’s back, but someone may be inspired to remark, “oh, you stuck a straw on his back. That’s just what was needed….”
By MICHAEL PERKINS
IN THE POST JUST PREVIOUS TO THIS ONE, I tried to explain the value, at least to me, of learning how to shoot the most with the least….that is, to streamline my photographic equipment options to the bare minimum, teaching myself how to make any kind of picture over an extended period of time with just a single lens. Having read the accounts, over the years, of many others who have undergone the same experiment, I see several words emerge again and again…words like “freeing”, “mindfulness”, even “revelatory”. Far from being a mere stunt, taking one’s entire tool bag and winnowing it down to one universal tool is an exercise in seeing, in self-reliance, and, to a great degree, in establishing just who is making the picture….us, or our equipment.
The reason this has again occupied my mind in recent weeks is the insistence by my doctor that, following recent surgery, I could only be approved for my next vacation if I were willing to keep any kind of lifting as close to a zero load as possible. Now, it’s no great trick to bribe my wife into hoisting my suitcase onto the luggage belt, but trimming out my camera bag for light travel has proven more problematic. Now, I don’t quite tote the toy tonnage of a NatGeo photog when I fly, but my shoulders and neck can attest to the fact that I tend to pack quite a few “just in case” items, items which, upon my return from various locales, spent the entire trip sleeping in the bottom of the satchel. For this flight, then, it was both medically and mentally smart to see how stripped-out I could manage to be.
Of course, no single lens can do everything, but I find that, if I’ve been even halfway accurate in assessing where I’ll be going, I can closely predict what kind of likely shooting situations I’ll face…certain “knowns” that I can factor into my decision. For example, during the trip at hand, I am likely to spend a lot of time walking in city streets, and, since I can’t predict how tall the buildings or how cramped the composing space will be, I will need something fairly wide, meaning that 85mm or greater will probably not work. I will also probably, percentage-wise, be about 80/20 urban-to-rural for my subject matter, so I will not need anything like a telephoto for, say, landscape work. I can also safely bet that Marian and I will be out at night, so I need something fast, since I will be working handheld and want to keep ISO below about 1400 to hold down noise.
Finally, in thinking about some of the places I might visit, there is a smaaaalll chance that I may want my lens to be easily adaptable for macro work, as in, compact screw-on diopters that fit in a pocket. So, to summarize, I need a pretty wide, fast, macro-capable, non-zoom lens, something inside a compact, light body that will not add a lot of bulk or weight. Weighing all of these factors, I have chosen my 1970’s-vintage Nikon 24mm prime. Its biggest aperture is f/2.8, so there’s plenty of light to be had. It’s also wide without being so wide that buildings look bent over backwards and perspectives seem somewhat normal. Additionally, it’s sharp as a razor, fast to focus, small in size, and will take 52mm screw-on diopters to nail focus at less than 12 inches out. Additional benefit: if I attach it to a crop-sensor body, the 24mm actually works more like 36mm, making the lens flattering for portraits as well.
So will I fly with just one lens? I might. I could. If I can convince myself that I’m not missing out on anything by not packing more choices (relaxing my control-freak death grip by a little), I probably will. Or maybe I’ll just throw all the equipment I own into my suitcase and make Marian heft it onto the belt. Hey, she’s been working out.
By MICHAEL PERKINS
IN THE PRESENT PHOTOGRAPHIC ERA, the default frame for composition is, with some notable exceptions, a rectangle, the 3-to-2 ratio that is the descendant of Oscar Barnack’s first 35mm Leicas of the late 1920’s. Most of us have been taught to automatically compose in this format, a hard-wired habit that informs our entire concept of how to fill a frame. The “notable exceptions” I refer to are the square films that have accompanied the return of instant photography, the lomography movement with its square-framed analog film formats, and, by virtue of a built-in app choice, the mobile phone. Strangely, some of the most sophisticated cameras on the market do not allow you to shoot an original square image: the shot must be captured in a 35mm equivalent and cropped later. But that’s a rant for another day.
The thing is, if you don’t typically investigate square composition, you are robbing yourself of an important tool, or, more specifically, you are allowing yourself to always see subjects in the same “frame” of mind. There are distinct advantages to creating a square composition, not the least of which is that it forces the viewer to take in your picture’s information in a distinct way. While shots that are wider than tall are marvelous for any number of reasons, they do, in effect, invite the viewer to scan an image linearly, that is, to look left to right and back again. By contrast, the square reinforces its equal dimensions, almost forcing the eye into a continuously circular sweep of the contents. I hear people complain that a square just “doesn’t give me enough room to get everything in”: however, I would counter that argument by contending that, in many 3/2 compositions, there is a wealth of visual information that not only is not needed, but actively distracts the eye from the most interesting parts of the photograph. Think of a glass of ice tea that, over time, actually has more volume in it, due to melted ice, than was originally poured into the glass. More liquid, but a greatly diluted flavor.
The problem is not that many square images aren’t being made…far from it. It’s that they are, in many cases, being re-made from rectangular originals, in the editing process. We have to shoot wide and edit square. But therein may lie the best way for us to start seeing what a square composition can do, not merely to define the space of a picture, but to invite the viewer into it more efficiently. And it’s easy and cheap to do it.
Try this: select a series of wide master shots that you feel fairly strongly about, dupe work copies of them, and then crop new compositions within the copies. Junk the ones that don’t work and do as many re-takes as you see fit. Did any of the cropped images emerge as stronger without all that extra stuff you originally felt you had to include? And even if they did not, that’s also a good thing. The mere fact that you’ve begun to intentionally look for pictures within pictures means you’ve entered a new phase of your vision as a photographer. We’re certainly used to thinking of pictures that “came out pretty good’ as final or complete, but it’s a good thing to think of them instead as workable drafts. In the wider shot seen ay top, I successfully conveyed that people were stepping onto the roof of the Met museum in NYC, but I also got a lot of things in the shot that aren’t necessary to the telling of that story. The main tellers in the picture are the two women, who, like us, have just arrived. They are our surrogates or guides. Cropping actually makes the red of the sign in front of one of the women cry for your attention, guiding you to the women even as it partly conceals one of them. Additionally, the same top to bottom space that they occupy also shows part of the skyline that borders Central Park. The front to back scale of the shot says “on the roof, in the city”, at some distance.”
So judge for yourselves, as you would with your own pictures. Did anything I took away in cropping diminish the impact of the picture? Does the lower frame now feel open, cramped, or, in Goldilocks fashion, about right? Is there an appropriate emotional distance from the subject, or a welcome intimacy with it? Is there, in short, an overall net gain for the narrative power of the image once it’s been cropped? And most importantly, even if this experiment fails (with the wider picture still being stronger), haven’t I already begun to see every picture in at least two fundamentally different ways? New ways of seeing are among the most powerful tools in a photographer’s kit. The world of cameras may indeed default to a rectangle, but that doesn’t mean our brains need to follow suit.
By MICHAEL PERKINS
THE SHEER DURATION IN TIME REQUIRED TO MAKE A PHOTOGRAPH was, in the earliest days of the camera art, THE prime determinant of good results. Recording media was slow, and conditions had to be exhaustively massaged for a usable picture to be produced at all. Long exposures and other compromises made portraiture difficult and rendered many other subjects simply impracticable. Naturally, the forethought, the planning of an image was a conscious, deliberate process. If you wanted a photo, you had to prepare properly.
The emergence, around 1900, of the first amateur cameras, which made so-called “instantaneous”, hand-held exposures possible, ushered in the age of the “snap shot”, and meant that, suddenly, many millions of pictures were being produced each year. That revolution was later replicated at the dawn of the digital age, in which the time it took a camera to snap and deliver pictures became even shorter. That, in turn, created a secondary wave of mass amateur photography, as defined by the phone camera, creating a blinding hurricane of images produced far faster than a human could plan or pre-construct. In essence, we could take pictures almost quicker than we could think them through. And that, at least for me, is a problem.
The careful, contemplative aspect of photography, which originally had been forced on its earliest practitioners by primitive technology, is, of course, no longer a factor. However, slowing oneself down long enough to produce fewer but better pictures is still valuable, more valuable, in fact, than all our storied gear and toys combined. Walking along on a shoot, I have frequently felt this…. push at the back of my neck, this nagging urge to hurry up and get the picture, which actually means get any picture. And certainly that’s no tough feat, given the rapid response of contemporary cameras. However, a special kind of frustration comes later on, when I realize that, in being too eager to simply record a thing, I did not spend enough time to determine the best way to record it. I let the medium tell me when to click, with the primary emphasis on merely getting something in the can and moving on. Days later, looking at a series of technically adequate but artistically under-explored pictures, I feel a little sick. Turns out, the only thing worse than not being able to photograph something is to have had your chance and let your impulses propel you into mediocre results. In looking at such results, I initially respond with W.T.F. (if you don’t know what that is, Google it), then revise my jargon to W.T.R.(what’s the rush???).
As you no doubt can do with your own shots, I can now look at past photos and recall if I shot them at leisure, that is, with some intention or blueprint, or if I allowed myself to act as if I were on deadline. For instance, the above postcard scene could certainly have happened by happy accident if it were a stand-alone snapshot, but, in fact, it’s one of twenty frames taken on both sides of Columbus, Ohio’s Scioto River over the space of a half hour, since I was certain of my subject but unsure of how best to compose it. The point is that I came back with more choices than I needed on the thing I really came for, rather than shooting as many different things as quickly as I could.
I can’t over-emphasize the gift of time that only we can give ourselves when shooting. “W.T.R.” should always be echoing in our ears as a nagging question, and, if the answer is “no real rush in particular”, then take a beat, take your time, and make your pictures better. The camera can shoot faster than you can think, but that’s mainly because it isn’t troubled with thinking at all.
That’s your job.
By MICHAEL PERKINS
COMPOSITION IN PHOTOGRAPHS IS NOT MERELY A MATTER of getting everything you want into the frame, whether your subject is crowded or stark. It’s about both the arrangement of objects or patterns in a given space and the relationships those things have with each other. It’s a process which often makes photography as frustrating as it is thrilling. Or maybe a more precise way to say it is, composition is the frustration you endure to get to the thrill.
Yeah, I like that a little better.
Part of the method of composition, in what is essentially a flat plane, is the arrangement of your subject in such a manner that it creates the illusion of depth, a kind of invitation to the eye to look further “in”. There have been entire libraries filled with references to these so-called “leading lines” such as the trail-off on the pier you see in this ocean view. Everyone mentions it because, well, goldarn it, for a cheap little trick, it works pretty well. This particular image is about as rudimentary an example of faux depth as you can find, but nailing it involves a lot of little things that are quite variable from one situation to another.
Ansel Adams once half-jokingly said photography was largely about knowing where to stand, and it’s still the best compositional advice I’ve ever heard. Certainly in the case of this photo, where I chose to stand (a decision I changed and re-changed across the space of several minutes) made a huge difference in how the depth effect displayed the picture’s information. I was originally walking toward the pier at beach level, at which angle the front-to-back view of the pier tended to emphasize the information most near at hand, with the rest of the pier dramatically foreshortened or “squished”, like the contracted bellows of an accordion, and objects at the far end of the pier greatly reduced in detail or prominence. Standing beside the pier rendered it as a long left-to-right line reminiscent of a snake or a train. Lots of detail but not much drama, and no practical way to show the entire structure.
Walking to the second-floor landing of a beach restaurant at the head of the pier, however, gave me a sensation of distance that appeared natural and yet was a little more dramatic, the lines of the pier converging as they reached the horizon, just like your ninth-grade mechanical drawing teacher taught you to do. But that’s the process of composition in a nutshell: a combined approach consisting of what to include and how to include it, or like Ansel says, knowing where to stand.
By MICHAEL PERKINS
PHOTOGRAPHERS PASS A VERY IMPORTANT MILEPOST when they first learn that pictures can be both reliable and unreliable narrators. As neophytes, we assume that the camera doesn’t lie, that it is a trustworthy tool for capturing the truth, a kind of optically-based lie detector. Later, we learn that, in certain hands, the camera can also distort, mislead, and, certainly, lie. It’s a heartbreaking moment for some, while it’s almost freeing for others.
Bearing witness with a camera is a noble calling, but, even among the most ethical or clear-minded image-makers, there are visual stories that can’t be plainly told, tableaux in which the scene itself is a reluctant witness. Call them pictures without ample evidence.
Shooters can certainly use their interpretive skills to play connect-the-dots in many a photo, but what can be done when there aren’t enough dots to connect? In such cases, merely starting a conversation is the best one can hope for.
I simply had to record the scene you find here. I was walking with some friends toward an urban sewer tunnel from which thousands of bats were guaranteed to emerge at sundown, when, with one of our party nearing the rendezvous, I spotted the abandoned wheelchair you see at left. Clearly this was a case in which no photograph could be expected to “explain” anything, but which was visually irresistible nonetheless. The mixture of object and place equals…what? Why would someone bring a wheelchair to a semi-remote location, and then just leave it? Did someone experience a miracle cure that obviated any further use for the device? If so, why go to the trouble of dumping it out in the sticks? How does one dispose of an unwanted wheelchair? Had someone upgraded to a better model, and thus turned their previous unit into roadside litter? Was some semi-ambulatory adventurer off on a brief stroll in the area, eventually returning to the chair to rest in before heading home? Would someone seeing a picture of my friend walking away from the chair assume he had been its occupant? If so, what would they assume happened? And, of course, was I being dishonest for even including him and the chair in the same frame?
You can see where this is all going. The frame is hardly a “gag” or “gimmick” shot, and it’s not unique among photographs (mine or others) in posing more questions than it can possibly answer. Moreover, I certainly don’t have any explanation for the chair’s appearance that makes any sense, at least to me. And yet, I wouldn’t dream of not shooting the picture, as it’s too much of an “A” example of what happens when the photo itself is a reluctant, even hostile, witness.
Seeing may indeed be believing, even if you can’t actually decide what it is you’re being asked to believe.
By MICHAEL PERKINS
I CALL IT “WINDOW SHOPPING“, the strange practice of taking random photographs while being driven through urban neighborhoods, usually in the back seat of an Uber, usually to or from a hotel or an airport. For any shooter who likes to engineer as much control as possible in their image-making (as is my own bias), cranking off shots out the side window of the back seat of a ride-share is the closest thing to complete chaos, and yet surprisingly exhilarating. It’s also good exercise for those occasional planned shoots in which you will need to react quickly, and hopefully with effect, under rapidly changing conditions.
The whole thing began for me several years ago with one of many trips I’ve made to and from New York, a place that, for a photographer, embraces both formal technique and shoot-from-the-hip spontaneity. I’ve had to teach myself to be more comfortable with the latter than the former, and so I have to regularly place myself in situations in which I’m forced to mentally shoot with, if you like, one hand tied behind my back. I have to make myself shoot looser and with less of a fear of loss-of-control situations. At some point, a boring cab ride to JFK gave me the perfect jumping-off point for such a project.
Think for a moment about how little I have to say about the conditions of this kind of shoot. The driver is taking me through neighborhoods I often know little about, so I can’t anticipate or plan. The speed of the vehicle, the smoothness of the ride, whether the “good stuff” is to the left or right of the car, and, certainly, when I’m about to behold anything with any potential all guarantee a kind of randomness. There are no warnings, no forecasts. Add to this that I will probably be shooting at full manual, meaning that, in addition to reacting in the moment to my subject and shooting conditions, I’m also throwing hundreds of frame-to-frame calculations about how to capture anything of value into the equation.
Not surprisingly, my yield is often 90% garbage, something that is also great for maintaining a sense of humility. However, the images that do work would never have been made at all had I not placed my precious precision in jeopardy. Thinking back to when I started, I, like many young photographers, disliked most of my pictures because there was always something I hadn’t understood, hadn’t planned for, didn’t yet know how to do. The paradox of this kind of machine-based expression is that you have to learn all the rules and then decide which ones you have no interest in following going forward. I often suspect that many younger shooters actually begin their careers at the opposite end of that continuum, starting at “what the hell” and eventually growing into more formalized technique. Doesn’t really matter. The important thing to remember is that both control and chaos can be useful, but they can both be imposters as well. A picture isn’t guaranteed to be wonderful because you cared and planned “enough”, and it certainly isn’t fated to be brilliant just because you cared so little. All roads don’t lead to Rome, but all roads also don’t lead away from it. From a window with shaky hands and a lousy Uber driver, or on solid, tripod-secure ground, you can be both the hero or the goat, given what’s happening between your ears.
By MICHAEL PERKINS
WE ALL ENTER THE WORLD FREE OF ENTANGLEMENTS, but even the simplest lives end in piles of….leftovers.
Detritus. Collections. Memorabilia.
The Romans might have had the right idea about a lot of things). Their word for “luggage” was impedimenta. Things that get in your way.
The recent death of a very old, sick man near my neighborhood has had, for some reason, a uniquely personal impact on my heart. Perhaps because his passing was so slow, so silent, more like a long fade-out than a sudden curtain. Perhaps because people in the area had known so little about him until a large storage bin was parked in front of his house to haul out the accumulated props of his lifetime. Most of the objects were emotionally sterile, like the rolls of peeled-up carpet or the shell of an old bathtub, items with no plain backstory in evidence.
And maybe that was what was oddly riveting about watching each succeeding batch of rubbish being carted out. The sadness of seeing that an entire life might, finally, amount to just so much broken garbage, so many banal, unknowable things. Things that would reveal little or nothing about the man around whom they briefly orbited. Items that could be anybody’s….or nobody’s.
So I did what I always do. I made a picture of the storage bucket. And then the bucket was gone. The noise of things being removed became the drone and drill of an empty house being remodeled for someone else to use. To fill with his own junk.
Then, two days later, the organ appeared.
A Lowry Pageant electronic organ, complete with coffeecup-ringed stool, apparently considered too good for the trash heap. Perhaps a poll was taken by the workers:
Do you want it?
Not me, I don’t play.
Nah, I got no room.
Perhaps someone actually said, well, we can’t just throw it out...
This called for another kind of picture. A picture of an instrument that, at one time, would have set you back the price of a small car. One of the first home keyboard instruments made before synthesizers that came with its own custom rhythm beats. Make you a one-man band, it would. What was on the program? Great Hits From Broadway? The Old Rugged Cross and Other Beloved Hymns? The Carpenters’ Songbook? I realized that, photographically, I was in different territory now. After all, a couch is just furniture, but a musical instrument is personal. Turns out a straightforward 50mm lens was fine for the trash bin shot, but I wanted to find some way to make the Lowrey, camped on the curb in front of the old man’s house, appear more…important than the free-to-good-home takeaway that it was. I finally decided that, while my 24mm prime would exaggerate the organ’s angles with a little more drama, my Lensbaby fisheye would bump up the distortion even more, allowing his house to also make it into the frame. One thing was certain: time was of the essence. Free things, especially free working things, go quickly in this neighborhood.
Sure enough, four hours after I made the picture, the Lowrey, as well as the last vapor of memory of the old man’s life, was gone. I’d like to think that some relative, somewhere, has a snap of him at the keyboard in better days. Some way to tie the man to the remnant. That’s what photographs do: they start the gears of speculation. What else happened? What else is true?
All teased by images, but never really delivered. Photographs are proof to some, unreliable testimony to others.
In the end, I got my picture, and, for a little while, my sadness at the old man’s leave-taking was salved.
By MICHAEL PERKINS
FOR AN ART DEDICATED TO SHOWING THINGS, photography certainly involves itself with concealment.
It wasn’t always that way.
Its original, nineteenth-century mission, which coincided with the reshaping of the world by the Industrial Revolution, seemed to be all about showing everything…the ancient and modern wonders of the world, vanishing peoples, emerging cities, the geological mapping of the globe. Optical technology was bent upon making lenses more sensitive, more accurate. Likewise, recording media, from glass to metal to celluloid sought the same goal: verisimilitude. Then, as twentieth-century art movements became more introspective and less documentary, photography itself became more interpretive and less like….a camera? Abstraction spread into the snapping of pictures as it had in painting. And, eventually, like painters, shooters learned not only the art of revealing but the art of saying more by saying less. That which was once revealed became creatively hidden or underplayed, with the viewer entering into a kind of contest/game with the photographer. What does this look like to you?
I call this process additive subtraction, the means by which the storytelling potential of an image is actually enhanced by taking visual information away. This can be done by underexposing, cropping, the manipulation of depth-of-field, you name it. The point is that something is deliberately done in the composition of a picture which keeps us from seeing “everything”, from merely recording the scene. What is left can transform or mutate the original subject…make it tease, haunt, even lie. Interpretative photography is about imposing some part of one’s self onto the image, a nudge that asks the viewer to go on a hunt with us. Who’s there? What is that? Why is that? And, most importantly, who’s to say?
In recent years, I have been working with selective focus as a means of sculpting my storytelling. Setting depth-of-field usually is a front-to-back process, deciding whether sharpness will occur near or away from the lens. Selective focus works a little differently with different objects that are often in the same focal plane exhibiting different degrees of sharpness, forcing the viewer to head over to the precise compositional territory we wish to emphasize. This nudging of the audience’s attention can be done subtly or with the force of a baseball bat, and it takes a great deal of patience to master the lenses (most of them fully manual) that deliver the effect. In crowd shots, I find that a uniformly sharp image might make all faces appear equal, when, in fact, some carry their “messages” better than others. So why not control which faces are important, which stories matter more, and which ones just happened to be in the neighborhood when the picture was snapped? In the image seen here, the women at the center of the shot seemed to be having a conversation, while everyone else around the desk seems involved with solo tasks. Selective focus allowed me to turn the surplus people into props. They’re indistinct because, to me, the story works that way. Seconds later, of course, the human “center” of the image might shift in another direction completely. It’s purely subjective.
Photographs are always assumed to be letting us in on a secret, when, in fact, they may be hiding one (or several) from us….for good or ill, depending on your view. But that’s the thing: it’s your view, your method of talespinning. You set the terms. That’s another way of coming back to the subtitle of this blog….the difference between taking and making a picture.
By MICHAEL PERKINS
YOUR CAMERA IS FAIRLY CRAMMED with features and functions that may or may not help you make better pictures. Certainly, all are intended as conveniences or shortcuts, but, since no one will ever utilize 100% of their gear’s potential gimmicks, you alone must decide which menus and goodies will actually help you exercise the most control over your results, and which are merely distractions. Your own path as a photographer will decide the real value of your camera’s various add-ons.
One automatic setting that I personally toyed with for a time but now almost exclusively avoid is the so-called “burst” setting, which allows you to automatically snap a ton of images very quickly by merely depressing and holding the shutter button. Its appeal is chiefly in helping to track fast-moving activities, like sports, children, or any other rapidly changing situation that presents challenge in setting or formulating shots on the fly. The camera is basically taking pictures faster than you suppose that you could plan them yourself, the idea being that, upon review, something in that batch must be usable, with the also-rans just being deleted later.
But I really find this mode a detriment, not a bonus, simply because the entire picture-taking process has been handed over to the camera. The shooter is completely passive, a bystander to a machine that is now making all the decisions. It’s like spraying a fusillade of bullets over a wide arc in the hope that you’ll hit something…anything, and it’s about as far from purposeful picture-making as you can get. I realize that the fear of missing something great can be tempting, but taking a whole bunch of pictures real fast, none of which could be anything other than a technically acceptable accident, is not a creative decision. How can it be?
Listen, I get it. Things happen fast, and it takes a great deal of practice in shooting in changing conditions. But the idea that there’s no time to frame or conceive an image just because it’s in motion is a false one. Will some opportunities be missed if you have to compose and click in the moment? Sure. Will some choices be unproductive? Yes. But the results will be your results. The image you see above was taken in a concert environment, which is just as volatile as any kid’s baseball game or birthday party. Faces, physical blocking, postures and light change mightily from moment to moment. But there is still time to plan a shot. Yes, your reaction time is measured in seconds, but there is time. More importantly, you can change your mind about whether to try something. You have direct influence over what’s planned and attempted. The camera is carrying out your commands. That’s the important part: they are your commands.
The shot you see here is the product of about fifty shots that were either deleted on the fly or winnowed out in the editing process. But I know what they are because I shot them. That’s not my vanity talking: it’s just the difference between learning to trust yourself and handing that trust over to the machine. For me, the choice is simple.
By MICHAEL PERKINS
THE CREATION OF A PHOTOGRAPH IS, AT ONCE, A VERY SIMPLE ACT and one of the most complex of creative processes. It is both instinctual and intellectual, a thing of sudden inspiration and a constant weighing of variables. It is, simultaneously, a marveling at the random arrangement of all the stars in heaven, and an attempt to line them up in a pattern of one’s own desire. Few photographers have been able to consistently balance these disparate aims over the course of a career. Fewer still have been able to reduce the process to written wisdom as well, a quality which makes Henri Cartier-Bresson a prophet among poets. He not only defined human truth with his beloved Leica (which he called “the extension of my eye”) but also managed to speak about that miracle in a manner no less articulate than his grandiloquent images.
HCB’s career coincided with the rise of the great photographic feature magazines of the 20th century, like Life, Look, Parade, and Harper’s Bazaar, where a new kind of reportage was being invented on a daily basis, with photographs evolving from mere illustrations of mega-events to stories about people who lived their lives beyond the obvious ranks of fame and power. Photographers were entering into a more emphatically emotional role, both harvesting and inserting interpretive energy into what had formerly been a simple act of recording. Global displacements of individual humans, measured between the World Wars in the Great Depression and other seismic events generated image makers who could train their cameras to take the measure of joy and suffering in an incredibly intimate fashion. Cartier-Bresson’s beat, which was global as well, enhanced his eye for the universal, the common feelings that crossed cultural and geographical boundaries. But he was also helping to create a new way of seeing, a system that was equal parts brain and heart.
In describing what he would later call “the decisive moment”, that golden instant where subject and story reached their peak of impact, HCB described what, to him, was the aim of the enterprise:
For me, photography is to place head, heart, and eye along the same line of sight. It’s a way of life. (It is) the simultaneous recognition, in a fraction of a second, of the significance of an event, as well as of a precise organization of forms.
Composition. Interpretation. Empathy. Narrative clarity. These became the mainstay elements of Henri Cartier-Bresson’s work, the difference between just freezing something in a box and capturing something of fleeting but essential value. They also became the pillars of a discipline that would eventually be labeled “street photography”. Perhaps it was his practiced way of seeing which, late in life, led him back to painting, the visual medium for total control. It is one thing to learn to see, and it is something else entirely to be able to harness that vision, to make the camera execute it with a minimum of loss from the original conception. But the anticipation that something is about to happen keeps us addicted, and that in turn keeps us trying. As HCB himself recalled of the moments before the click, “I’m a bag of nerves waiting for ‘the moment’…and it wells up and up and it explodes…it’s a physical joy, dance, time and space all combined. Seeing is everything.” It is a testament to how perfectly Henri pre-conceived a composition that almost all of his photographs are exactly as he shot them, without cropping or re-framing of any kind. They were just that right…..the first time.
We all occasionally get seduced by equipment, techniques, fads, even windy essays like this one, veering from the central mission of our art. But that mission is as simple as it is elusive: seeing is everything. With it, you can light a candle against the darkness.
Without it, you are worse than blind: you are unknowing.