By MICHAEL PERKINS
YOUR CONCEPT OF “STREET” PHOTOGRAPHY, assuming it interests you at all, is shaped by a variety of influences, including your idea of appropriate subject matter, biases in style or equipment, even your technical limits. But from my own particular perch, I think that the era into which I was born may be one of the strongest determinants of my preferences in street work, at least when it comes to the choice between black and white and color. To me, this kind of reportorial photography is vastly different either side of a key time line, with one side, say the world up to about 1955, weighted toward monochrome, and the other, the years that follow that mark and track forward up to the present day, being the more “color” era.
Before the mid-50’s, nearly all “important” photography was still being rendered in monochrome, much of it of a journalistic or editorial nature. From the crash of the Hindenburg to the New Deal’s chronicling of the impact of the Great Depression through endless newsreel and magazine essays, the pictures of record, of the stuff that mattered, was black and white. Consumer photography generally followed suit. Early color films were available from the 1930’s on, but the overarching curve of Everyman hobbyist work did not immediately flip to general use. Color was largely for commercial work, for selling things in a hyper-saturated advertising spread or brochure. Seminal black and white essays like Robert Frank’s The Americans or Henri Cartier-Bresson’s The Decisive Moment seemed to reinforce the idea of monochrome as the messenger of realism, authenticity, grit. Ugly, sad, tragic, important things happened in black and white. Color was for kids’ parties.
By the 1960’s, faster consumer color films changed candid photography virtually overnight as amateurs opted for more “lifelike” images. Color print, slide and movie film sales soared, and, while magazine and newspaper “documentarians” continued to emphasize mono as the “official” tonal language of street work, younger photographers began to reframe the argument as to what constituted a fit format for commentary. In the present day, both approaches live comfortably side by side, and many shooters are not exclusively in the ‘either” or “or” camp, deciding one frame at a time whether a narrow or wide palette is right for a given image. Even the shooters who embraced color as young photographers may, today, toggle back to monochrome for a singular impact or even a nostalgic evocation of the past. Fashion historians can easily lose count: we’ve zoomed past ironic, post-ironic, post-post-ironic, and back to innocence again, spinning through both unconscious and super-self-conscious styles like the blades of a pinwheel. Beneficiaries of technologies that abett and invite multiple ways to rendering the same subject, we shoot in all eras and influences at once. Everything about photography is a la carte.
For me, black and white isn’t a signature, but then again, neither is color. I find them both adequate for the candid work that encompasses “street”, and I reserve the right to make the choice between the two at a moment’s notice. Tonal properties, after all, should be as improvisational as the decision to make a given picture. We are freer than ever to worry less about the how of a photograph, and focus on the why.
BY MICHAEL PERKINS
WHEN THEATRICAL NEWSREELS GASPED THEIR LAST in the late 1960’s, they took with them a set of global habits for receiving visual information that had been in place since World War One, including the regular ritual of filing into theatres twice a week to see fast-moving digests of wars bulletins, scientific advancements, sports highlights, and current fads and foibles. Daily news, prior to the arrival of television, was dominated by newspapers and radio, with newsreels providing a secondary, visual record of world events. Then, nearly seven decades into the tradition, they vanished, and with them, something of the world that produced them.
Several newspaper chains produced newsreel versions of their most photogenic stories, and major film studios, including Fox, MGM, and Warner Brothers, all of which had divisions devoted exclusively to the making of so-called “short subjects”, likewise had newsreel crews within those departments. Better yet, all the studios owned and operated their own chains of theatres, guaranteeing a regular flow of distribution for their products. The public came to expect newsreels as a part of a larger theatrical program which included cartoons, two-reel comedies (hello, Three Stooges) and two full feature films……all for less than a dollar.
Even though the newsreels, unlike the video newscasts that succeeded them, had only one or two “deadlines” per week, they still had to create a slickly coordinated system for getting stories to the local Bijou before the items got too stale. A network of local photographers was paired with a shipping regimen designed to send raw footage to centralized hub studios, where it could be processed, edited, scored, and in selected cases, dubbed for foreign release. The instructions on the shipping case seen here clearly spell out the urgency of time (valueless if delayed!). This particular box belonged to the Hearst chain’s News Of The Day, which competed for eyeballs in a crowded field that included The March Of Time, Universal Newsreel, Fox Movietone News, and the British Gaumont Graphic, among others.
Hearst and Universal amazingly produced newsreels until 1967, the same year that the Beatles issued Sgt. Pepper. By that time, the news had become a daily appointment telecast at home instead of a bi-weekly trot to the cinema. But even in their death throes the newsreels gave the world one more great story, with many libraries inheriting the complete archives of the once-vital features, now used as a twenty-first century research resource for every major event of the twentieth.
By MICHAEL PERKINS
ENVY, WHILE A COMPLETELY UNDERSTANDABLE HUMAN EMOTION, has only occasionally helped me advance as a photographer. Eating one’s heart out over someone else’s talent is, at best, a kind of sweet misery, but there are a few instances in which it’s almost a pleasure to look upon another person’s work and know that you’ll never approach that level of mastery.
For me, that juicy jealousy has always been reserved for the legendary output of the Farm Security Administration, the New Deal program charged with chronicling the nationwide impact of the Great Depression of the 1930’s, the idea being that you couldn’t marshall public action against a problem people couldn’t see. The titanic FSA archive, containing more than 175,000 negatives, capitalized on the emerging 35mm film format and the country’s then-ubiquitous photo news magazines to produce images which were both objective reportage and so-called “street” photography. There is simply no comparable project in the history of the medium.
So, again, my own work, as previously confessed, is a admixture of envy and admiration. I can never take a crack at creating a narrative for the Dust Bowl or the great Oakie migration, but I can create an “homage” to those who did. You know how this works. When you get caught aping someone else’s technique, that’s “theft”. When you out yourself for doing the very same thing, it’s an “homage”. Soooooo…
The master shot of the above image was taken out the window of an Amtrak train winding its way between Portland and Eugene, Oregon, about ten days ago. I was struck by the visual isolation of the farm structures and the profound emptiness of the surrounding fields. The antique feel and texture of the finished product was supplied by the Hipstamatic app, the whole deal created completely in-camera on an iPhone, which is, to our era, what the Leica was to the FSA’s journeyman shooters….that is, the tool at hand. I can’t honestly chronicle the events of that time…..but I can render an echo of their feeling.
Some seventy-five years have passed since the Roosevelt administration sent a small army of shutterbugs across the country to live among those whose lives had been shattered by the Crash, to record what they were trying to do to restore equilibrium to a world that had run into a ditch. I will never be able to do that exact work. Still, I hope I can bring rigor to the challenges that my own time have placed before me. Sometimes, the two eras seem uncomfortably close, as if some very old dust were blowing up into a new storm…..
By MICHAEL PERKINS
FOR PHOTOGRAPHERS, MUSEUMS SHOULD NEVER BE A ONE–WAY STREET. The popular conception of the role of our various Hallowed Halls of Important Stuff is that the artifacts do all the sensory sending and we, the visiting public, do all the receiving. The idea prevails that paintings and sculptures and installations impart their wisdom and we passively soak it up, like ambulatory blotters. Thus, this logic must follow, a photographic record of the museum experience should only pointed in one direction.
But of course this is nonsense.
Anywhere you have hundreds of humans assembling in a common area, you have created an active anthropological laboratory, and thus a rich harvesting ground for the camera. A myriad of motives and paths, from “something to do” to a personal thirst for experience to a place to duck in out of the rain, converge as a “temporary collection” mixing with the museum’s’ more permanent ones. All these arrivals, each with their own energy, curiosity, hostility, apathy, fatigue, and joy to deal with, create a kaleidoscopic pattern of intrapersonal intersections and collisions. The eager attendee and the unwilling hostage exist side by side. That creates the unpredictable, and that unpredictability, for the photographer, creates opportunity.
In the image shown here, the “official” delights of the museum in question have failed to amaze, at least for the group occupying the bench. As for the woman peering out the window, she has simply found something with bigger “wow” value than anything hanging on the walls. The sheer dimensions of the space threaten to dwarf the group, to make it seem small or insignificant, and yet their faces and bodies contain a strange mix between tension and ennui that is so wonderfully human that it invites the investigative eye of the shooter.
This shot came to me virtually ready-made, although a later conversion to monochrome eliminated the minor color distractions of various articles of clothing. When a picture is this simple, everything that tends to complicate it becomes expendable. The phrase keep it simple, stupid, may not have originated with photographers, but we ought really to have it tattooed on our foreheads.
I spent nearly two hours in the museum in question (name withheld) and, I assure you, this was one of the most interesting tableaux I observed in the entire joint. It’s not that I find no interest in the arts: quite the opposite. It’s just that, visually, people reacting to the world is more vital to me than just pictures of the world alone. The whole gig is a museum, really, and frequently, the permanent collection of life is thus upstaged by the temporary one. Go figure.
By MICHAEL PERKINS
THE FIRST DECADES OF PHOTOGRAPHY, like the earliest years of any emerging art, operated under a different set of rules than those we set for ourselves today. More accurately, we may now operate in a world in which there are no immutable rules at all. It’s hard to imagine a book with the title Why It Does Not Have To Be In Focus being published in, say, 1865.
When a different way of viewing the world comes mostly through a technical breakthrough (i.e., the invention of the camera), it can understandably be regarded, at least at first, as a measuring or recording device, a way of creating a merely physical chronicle of the world. Thus a camera can initially be regarded like a microscope or a seismograph….as a way of quantifying data…. which is precisely how early cameras were seen. Catalogue the great statesmen and authors for the ages! Assemble a library of images of the ancient world! Map the continent!
And so the first rules of photography bent toward the scientific. Make an accurate record. Not surprisingly, it took decades for picture-taking to be freed from the constraints of mere reality (as painting already was) and move toward the making of pictures, as photography eventually became an interpretive art. I often wonder if this explains why, of all the various subjects available to me, I am less comfortable in landscape work than in any other area.
There seems to be no way of escaping the pure recording function of it. I feel constrained to make it accurate, as if it’s for an official government survey, or as though I were being graded on the results by some imperious professor. I know the problem lies with me. I seem anchored to the idea of rendering scenery “real” (I hate that word), when, in fact, I could exercise just as much interpretative control over it that I do over everything else I shoot.
Is the shot shown here less real for having been partially defocused, or is it more personal because I have gently asked you to look at the subject in my own way? Do I really even have to ask these questions? Quite obviously, the rules of photography as we understand them are no longer based on pure science. Yes, it is “about” the lenses, to a degree, but it’s more completely about the human eye. We are not machines, nor should our art be purely the product of machines.
By MICHAEL PERKINS
AT THIS STAGE OF MY LIFE, I find myself playing two conflicting games of “who’s there” as regards my identity in the context of generations. On one hand, in front of the shaving mirror, I can clearly see my grandmother’s face pushing its way forward through my own. On the other, I now can see echoes of the “serious” younger man I thought I was being inscribed across the features of my adult children.
It is too late for me to explore my grandmother’s face for further clues, beyond studying the images others made of her. Sadly, as a photographic subject, she was amazingly opaque. I can’t think of a single image of her that reveals or explains an iota of what I know emotionally of her. Looking down into her soul through a photograph is as unlikely as trying to see through a lead-lined wall. As for myself and my three legatees, we seem not only to be facial re-interpretations of each other, but occasionally, a glimpse into what she was as well. Strange.
My children are all serious contenders, in that they believe that life is to be gotten on with, no dilly-dallying, if you please. They are, in that way, far better agents of change and action than I was. Time has begun to burn childhood’s last traces from their features, but the remaining faces are those of big, deep livers, of striver-survivors. Their own legends are now inscribed on them: they are, focused, intentional, resolute, courageous. I see the concern and apprehension I once wore on my own face: I read the uncertainty of their contending in this world. But I also see every laugh, every explosion of joy, every haywire vision and dream that I knew in myself: I see their first giggles, their earliest amazements.
And so, although my camera can only see a fraction of these things unaided, I am now able to provide that aid: I see now with ever-new eyes. These intimate strangers are my teachers, not my students. My grandmother, cipher of raw endurance that she was, might even have recognized herself in these new iterations of old star-stuff. She speaks to me in the mirror, as if to remind me, get it right, boy. Similarly, my children speak to me in pictures, enjoining me to do the same thing.
By MICHAEL PERKINS
CROWDS ARE OFTEN DESCRIBED as if they were single entities, as if each member were acting in accord with all others, like cells combining to form an organ. Writers likewise use the word “crowd” as a kind of collective noun, as in “the crowd went wild” or ” the crowd grew restless”, again making it seem as if a collection of individuals can act as a single thing. Spend time in any crowd as a photographic observer, however, and it becomes obvious that there is virtually no such thing as group behavior. Everyone comes to a crowd separately, one motive, one agenda at a time, and photographers can begin to harvest real human stories by seeing them that way.
To be sure, there is scope and drama in making uber-pictures that convey the sheer size and scope of mass gatherings. Likewise, there are certainly moments when crowds seem to be moving or acting as one, as in the moment when the winning run is hit or a rousing orator evokes a roar of approval. But look carefully within those general waves of action and you will still see the individual proudly on display. By turns, he is, even in a crowd, engaged, irritated, enthusiastic, bored, tired, ecstatic, and angry, just as visibly as if he were in any other situation. Get close enough to a mass of people and you’ll see The Person…..perhaps attempting to be part of something larger than himself, but still pushing his own brand of street theatre, still brandishing his own quirks.
Demonstrations, parades, celebrations, protests….they’re all staging points for persons, persons who give up their stories to the photographer’s eye no less in a mob than in the family den. Wait for the moment when that happens and grab it. Teach yourself to look at a crowd and see the person who’s truly one in a million.
By MICHAEL PERKINS
LIKE MANY TOWNS in the American southwest, Superior, Arizona sprung up in the nineteenth century primarily to get people close to something promising that Nature had already parked in the local dirt. So long as that something gushed up, flashed in a prospector’s pan or helped light or heat something, the towns flourished….. boomed, as the term goes.
Until they didn’t.
In the case of Superior (2010 census population 2,837), the silver that anchored the locals to the grim crags of the Superstitions mountain range tumbled in value when the metal lost its status as the backing for the American dollar in 1893. Fortunately, Superior had a second act, rebounding with the discovery of copper in the same area where silver had been mined. And then, of course, Hollywood came calling, seeking a visual taste of the Real Old West. Superior rose yet again, standing in for yesteryear in the films How The West Was Won, Blind Justice, and The Gauntlet, among many others. And the beat goes on; as recently as the 1990’s, yet another copper mining company hooked Superior up to yet one more source of life support. And how’s your hometown?
Even so, a photographer looking to take Superior’s pulse in the twenty-teens is well advised to look a little deeper than the shopworn storefronts of the main street, heavy with thrift shops and antique stores but also alive with hot pastels and the twang of Saturday afternoon dance music, complete with Stetsons and cold longnecks. The town is rusty and dusty down to its toenails, pressed up against gritty stone peaks, but it is still brave at the corners of its mouth. As a place that is “a fur piece” from Phoenix and a hoot and a holler from Globe, Superior is more mile marker than actual destination, but it is still standing, still smiling for the camera.
And, who knows, things could change.
They always have before….
NOTHING IS SO TIMELESS as something whose time has come and gone.
Once a thing… a style, a design element, a fashion, an idea…has outlasted its original context, becoming truly out of sync with the world, it can become visually fascinating to the photographer. Instead of forward-looking, it’s dubbed “retro”. Rather than radical, it becomes something no one can ever remember having been excited about, like looking at Carol Brady’s shag haircut 25 years on.m
The information booth in the frame shown here is one such anomaly, so odd a fit in the building that it’s part of (the California state capitol annex) that it wrenched my attention away from a pretty good tour. The wing the booth is part of, built from 1949 to 1952, is, generously speaking, as dull as dishwater, indistinguishable from most generic government buildings, a box of sugar cubes.
But the booths are something else again.
Far from the typical marble-block, cage-and-window, bank teller enclosure many public servants call home, the booth is curved wood and glass, sounding a faint echo of Art Deco which extends even to the aluminum letters that spell out INFORMATION. And yet, at present, the modernity of the original design is now itself antique, its lonely occupant looking as if he were banished to his post rather than assigned.
The lighting within the booth is so minimal that the poor man’s features are nearly swallowed in deepening shadow: he looks like a recreation in some museum diorama about What Offices Will Look Like In The Future!!!, as strange to view as “modern” renderings of someday space rockets as seen from 1950. And then there’s the insect-repellant visor green on half of the glass, which is there, I assume, to protect Mr. Info from harsh gamma rays(??). The entire effect is one of loneliness, of, again, the evidence of a time (or a man) whose time has come and gone. And that calls, in my world, for a picture.
By MICHAEL PERKINS
BEFORE THE ELEVENTH OF SEPTEMBER WAS DEFINED, for the New York Fire Department’s Ladder Company Number 3, by grief, the date had long stood as a milestone of devotion. Dedicated on September 11, 1865, Ladder 3 as one of Manhattan’s first fire companies, “the 3” was well on target toward its sesquicentennial on the morning that eleven of its finest perished while trying to evacuate the 40th floor of the doomed North Tower at the World Trade Center.* Death above was mirrored by destruction below: parked along West Street, the 3’s apparatus (ladder) truck was sheared in half, corkscrewed into a clawed snarl by the astonishing force of the building’s collapse.
And so it happened that one of the most poignant symbols of American valor was entombed, literally, at the epicenter of the nation’s most raw, most anguished loss, the geographic coordinates that quickly came to be called Ground Zero. However, the 3’s truck would not immediately serve as an official visual headstone, a graphic barometer of our loss. That day would have to wait.
First would be the accounting, the sorting out. As ashes were sifted and rebirth begun in this most vigorously contested patch of Lower Manhattan, the twisted remains of Ladder 3 were removed, the truck warehoused at JFK airport, silently sequestered against the day it would be re-purposed as a red-and-rust jewel in the reverent setting of the 9/11 memorial museum.
That resurrection and re-internment, a mixture of sacred fervor and steely defiance, would come on July 20, 2011, when the returned Ladder 3 apparatus truck, swaddled in U.S. and FDNY flags, would be lowered 70 feet down into the subterranean display space that serves as the nerve center of the museum. Now, before daily batteries of Nikons, Canons, and iPhones, its silent testimony can follow millions back home, the countless new images illustrating, as no words could, the full impact of history. Standing in as a grave marker for the thousands of human remains housed invisibly nearby, Ladder 3’s gnarled visage would pose as a surrogate, a way of marking valor’s Ground Zero.
* * * * *
*Ladder 3, in firefighter parlance, was “running heavy” on the morning of 9/11. The attack occurred almost precisely at the company’s change of shift, with both first and second shift crews remaining on duty to combat the catastrophe. This horrific quirk of fate doubled the 3’s losses at the site, claiming the lives of Captain Patrick “Paddy” Brown, Lt. Kevin W. Donnelly, Michael Carroll, James Raymond Coyle, Gerard Dewan, Jeffrey John Giordano, Joseph Maloney, John Kevin McAvoy, Timothy Patrick McSweeney, Joseph J. Ogden, and John Olson.
By MICHAEL PERKINS
NEW YORK CITY HAS BEEN CALLED MANY THINGS: words like titanic, exciting, merciless, dizzying, dangerous, even magical spring to mind immediately. By comparison, fewer observers refer to the metropolis with words like peaceful, tranquil, or contemplative, and fewer still would ever label it slow. Manhattan may be lacking for modern subways, open space, or a cheap cup of coffee, but it’s never short on speed.
NYC runs on velocity the way other towns run on electricity: the entire metro is one big panicky White Rabbit, glancing at his pocket watch and screeching “I’m late!” As a consequence, anyone making photographs in the Apple has to factor in all that velocity, or, more precisely, decide how (or whether) to depict it.
Do you try, for example, to arrest the city’s rhythm in flight, freezing crucial moments as if trapping a fly in amber, or, as in the image above, do you actively engage the speed, creating the sensation of New York’s irresistible forward surge as a visual effect?
Fortunately, there is more than a century of archival evidence that both approaches have their own specific power. Pictures made in the precise instant before something occurs are rife with potential. Images that show things in the process of happening convey a sense of excitement and immediacy. Like the lanes in a foot race, speed has discrete channels that can reward varying photographic approaches.
By MICHAEL PERKINS
THE LATE STUDS TERKEL’S BOOKS created almost a category of their own, collecting memoirs from across the length and breadth of American experience and class in essential essays like Working, The Good War, and Hard Times. Traveling the length and breadth of the nation for over forty years, Terkel interviewed the big and the small, the meek, the marginal and the mighty, as they recalled their individual experiences in the wake of massive historical events, from wars to depressions. For one of his final social montages, he spoke to people in their twilight years about their efforts to remain positive and engaged despite lives that had often proven challenging, even tragic.
Its title: Hope Dies Last.
Upon first seeing the book, I had to read it, partly because it was Studs, and partly because that title spoke to my own minor acts of faith in what I look for in photographs. Pictures are often testimony about people who cannot be seen, measured in the objects they care about, or in which they invest their hope. We have all seen the tenacity of wildflowers thrusting up between the fissures of cracked concrete, and appreciated, in the abstract, what that image says about the faith of the human animal. We capture pictures of places bombed to ruin, then testify with our cameras as they begin, once more, to lay a stone upon a stone. Building. Dreaming. Launching our boats against the current.
Hope dies last.
When I see a picture of something that, to me, symbolizes our collective refusal to knuckle under, I want to take it home with me. Because we need it. Now, yesterday, ever. We draw strength from that escapist wildflower, or a battered face upturned toward the light, or, as above, a potted plant defying the odds in a dark apartment air shaft. Someone decided to give that plant a chance…or, at least, to remind the grey walls and grimy brick that color and life are still around, still fighting for their shot.
Studs made his best case for the persistence of hope with the words of his interviewees. I find comfort in trying to find visual evidence of their actions. Either way, photographers can serve as conservators of hope.
If there’s a better gig to be had in this life, please let me know.
By MICHAEL PERKINS
THE HISTORY OF PHOTOGRAPHY IS ALSO THE HISTORY OF A STRANGELY INTIMATE DANCE WITH DEATH, a fascination with its look, its effects, its ability to transform both man and materials, mood and matter. From the first images of combat in the mid-nineteenth century to today’s Instagram chronicles of turmoil and trauma, we have tried to testify about how the world changes when we, or others like us, pass out of existence. The process is a constant rug-of-war between intimacy and publicity, between the glare of public destruction and the privacy of inner oblivion. And the pictures that result are arguments, quarrels with ourselves, which can never truly be settled.
There seems to have been a shift over the past few decades in how we grieve, or at least in the visual vocabulary of that grief that we choose to put on display. The quiet graveside memorials of eras past seems to have been supplanted by increasingly public vigils. We cry our tears in front of each other now, and the creation of instantaneous, group-generated shrines has become a bizarre kind of performance art, as visible as graffiti, and as personal as each man’s ending. Whether it takes the form of mountains of teddy bears stacked around an accident site or candle-lit collages of mementos offering mute testimony from well-meaning strangers, mourning is now something we experience globally, tribally. John Donne’s 1624 sentiment that “every man’s death diminishes me” seems, in the present day, eerily prescient.
I recently drove past an improvised memorial for a deceased high school student. I knew nothing of his life beyond what his friends decided to collect to mark its passing. And so, visually, I was presented with a puzzle. What specific articles can be used to symbolize a life? Conversely, what should be excluded? How does an object that says something for one person presume to speak for he who has been silenced?
I made the shot you see here in as plain and reportorial a fashion as I could, shooting it head-on, in the manner of Walker Evan’s iconic images of signs and posters from the 1930’s. The only interpretive factor here, really, is the light in which I chose to shoot, deciding that sunset would help boost texture in the shot, and, incidentally, serve as a kind of metaphor. Make of that what you will.
Some pictures don’t need people in them to speak loudly for them. Today’s collectively assembled registries of loss are, in themselves, interpretive statements, not unlike paintings, editorials, or eulogies. Acknowledging them in pictures seems less like invasion and more like reportage, since they are clearly designed to be seen, to bear witness. The fact that they are anonymous makes them intriguing. The fact that they are so intensely personal makes them photographically essential.
By MICHAEL PERKINS
URBAN ENVIRONMENTS ARE MEAT GRINDERS, greedily chomping maws that mulch and mash humans into manageable shapes and sizes, compacting lives into spaces too small for the average burrowing rabbit and crushing a few millions dreams in the process. And the endless flow of stories that result from this struggle, for photographers, show Man trying to steer clear of the maw, or at least salvage a few limbs as he does battle with it.
Life in cities is about small words with big import. Safety. Shelter. Privacy. Relief. Escape. Dreams. Prayers.
Photographic sagas in cities begin and end with the demarcation of personal boundaries. Over here, this is mine. Over there, yours. This is how I identify the mineness. With decorations. With ritual. With color, context, property. I live in the city, but I say on what terms. Cross this line and the city ends. And I begin.
The story of how people in cities define their personal space is a tremendous drama, and, often, a fabulous comedy as well. In the above photo, taken across the endless track of backyard spaces in a Brooklyn neighborhood, space is, obviously, at a premium. But it’s how I fill it that defines me. The little crush of chairs and tables is not so much a patio as it is a healthy exercise in self-delusion.
My little slice of heaven.
Next year, I might get a barbecue.
When the Drifters sang of cities in Carole King’s amazing song, “Up On The Roof”, every city dweller already knew the words. I leave all that rat-race noise down in the street. And every person who walks cities with a camera knows how to identify, and bear witness to, all those little rooves. Or patios. Or pink porchlights.
People need their space, and photographers will always be on hand to show exactly what they came up with.
Just picture it.
By MICHAEL PERKINS
For decades, the legendary Life magazine provided richly illustrated summaries of the week’s events, competing with other photo-laden national weeklies from Look to Fortune, Collier’s to Liberty for the eyeballs of generations of subscribers. The weekly giants perfected the photo-essay, laying out stories on elections, wars, fashions and the arts in serial narrative form from opening headline to closing paragraph. Life has even had a second “life” of sorts, ceasing weekly publication clear back in 1972, but still visible on newsstands to the present day in re-mixed, themed reissues of its iconic image archives.
One of my favorite features in Life over the years was the Miscellany page, tucked just inside the magazine’s back cover, and reserved almost exclusively for whimsy or fun. Freed from the journalistic constraints of the rest of Life, the Miscellany images ended the week on an up note with novelty and warmth providing relief from starker, sterner material. Nearly all of the photos were “human interest” in nature, featuring amusing interactions between people. Lovers. Kids. Day laborers. There was a true “caught in the act” flavor to the shots, and most looked like lucky candids rather than staged or manipulated images.
The feature informed my own brand of street photography, the snap that makes the mind speculate on the story that takes place both before and after the click. Sometimes people figure in my own moments of whimsy. Other times, as in the case of the image up top, an unusual arrangement of elements captures my imagination, making me wonder how these particular things got to this particular place. The idea of a single blooming flowerpot on a cart standing outside a very industrial loading dock caught my eye, as the two things don’t seem, at first glance, to belong to the same world. I almost spent too long thinking about it, too, since, several seconds after I snapped the picture, a worker came into frame and removed the vase, vaporizing my little tableau forever. Snooze you lose.
Miscellany appealed to my child’s sense of how to tell a story in pictures, not by what was shown but by what else is going on. There is a limited “when” for all whimsy, and, as the editors of Life realized so well, a time when one picture on the page is worth a thousand more in the mind.
By MICHAEL PERKINS
IN THE BEGINNING, PHOTOGRAPHY WAS MOSTLY ABOUT RECORDING, arresting time in its flight in order to preserve scenes for posterity. And, for its earliest practitioners, that purely technical feat of stopping the clock was enough. We still use the word capture to describe this harvesting of moments. Soon, however, photographs became truly interpretive. That is, they set out to be about something beyond a mere logging of the physical world. In so doing, they passed from documents to statements, with shooters choosing which world view they wanted to present.
I find that, even in the most complex documentary photos, those views seem to collect into two main camps of thought. One kind of image, which may be called the “ruin” category, depicts what we have lost. Abandoned buildings, wrecked cities, damaged lives. “Ruin” campers show the deterioration of things and ask us to assess the loss of dreams. The second general kind of interpretive category, which I’ll call the “resurrection” camp, shows the things that might have experienced ruin but are rebounding, on their way back up. Rez campers show the resiliency of the human spirit, the belief that there will, indeed, be a tomorrow.
Human beings being partisan by instinct, curators, editors, and audiences can, and do, glorify the pictures of one camp while decrying the worthlessness of images from the other camp, in what is really a false choice. Life is never cleanly divided between heaven and hell, and neither should your pictures be.
Photographs that show what we have wasted are no more “authentic” than those that show us recovering from loss. And truly great photographers actually straddle both camps in their best work. But your purpose in a picture must be clear: the image at the top of this page seems to mourn the devastation of an old family farm. However, if I were to pull back to a larger frame, the camera would also show the freshly furrowed fields of a property that is in the process of being re-developed. Ruin or Resurrection? It’s down to approach, and context.
Some days it seems like the best story you can tell is a tragic one, but, at other times, there is nothing more courageously honest than depicting hope. It all depends on what comes to hand. The best plan is not to plan, to be open to whatever the best testimony is, right here, in this picture.
By MICHAEL PERKINS
THERE CAN BE NO BETTER DEMONSTRATION OF THE HUMAN RACE’S TWO CONFLICTING APPROACHES TO EXISTENCE than are on display in the peaceful town of Concord, Massachusetts, where one of the most renowned jumping-off sites for war and destruction sits cheek-by-jowl with one of the quietest monuments to the serenity of the mind. It’s a contrast which no photographer should fail to experience.
Just a few hundred yards from the tiny footbridge which is rumored to have launched the American Revolution is a carefully preserved haven known as the Old Manse, a modest two-story country home built in 1770 for patriot minister William Emerson. The home came, eventually, to temporarily host a trio of the young nation’s most eloquent voices: Nathaniel Hawthorne, Henry David Thoreau, and Ralph Waldo Emerson (the good minister’s grand-son).
The house remained in the hands of the extended Emerson family until as late as 1939, when it was conveyed to the state’s Trustee of Reservations. Over the years, the Manse helped incubate the energies that produced Emerson’s Nature, Hawthorne’s Mosses From An Old Manse, and various love poems written between Thoreau and his wife. The house also retains writing desks used by Hawthorne and Emerson.
The manse supports itself, its side garden and its replica corn field with a modest bookstore and daily walking tours of the house’s rooms, which are said to feature nearly 90% of the structure’s original furnishings. However, as is the case with Annie Liebowitz’ profound essay on the living spaces of quintessential Americans, Pilgrimage, the effect of the house on the photographer’s eye can never only be in the arrangement of physical artifacts. There is something more ethereal going on than merely snapping The Place Where He Sat And Wrote, an unfilled space that exists between these mere things and the essence of those transcendent writers.
And while I’m not sentimental enough to believe that you can render a person just by photographing an object from his desk, there is something that lingers, however impossible it is to quantify. Revolutions are very amorphous things. Some come delivered by musket ball. Others arrive in wisps of quietude, seeping into the soul with the stealth of smoke. The Old Manse launched its own crop of “shots heard ’round the world”, the echoes of which can sometimes resound in the echo of an image.
It’s a lucky thing to be ready when the message comes.
By MICHAEL PERKINS
“(the book is) flawed by meaningless blur, grain, muddy exposure, drunken horizons, and general sloppiness, (showing) a contempt for quality and technique…” –Popular Photography, in its 1958 review of The Americans
THOSE WORDS OF DISDAIN, designed to consign its subject to the ash heap of history, are now forever attached to the photographic work that, instead of vanishing in disgrace, almost single-handedly re-invented the way the world saw itself through the eye of a camera. For to thumb through Robert Frank’s 1958 collection of road images, The Americans, is to have one’s sense of what is visually important transformed. Forever.
In the mid-1950’s, mass-market photojournalist magazines from Life to Look regularly ran “essays” of images that were arranged and edited to illustrate story text, resulting in features that told readers what to see, which sequence to see it in, and what conclusions to draw from the experience. Editors assiduously guided contract photographers in what shots were required for such assignments, and they had final say on how those pictures were to be presented. Robert Frank, born in 1924 in Switzerland, had, by mid-century, already toiled in these formal gardens at mags that included Harper’s Bazaar and Vogue, and was ready for something else, a something else where instinct took preference over niceties of technique that dominated even fine-art photography.
Making off for months alone in a 1950 Ford and armed only with a 35mm Leica and a modest Guggenheim grant, Frank drove across much of the United States shooting whenever and wherever the spirit moved him. He worked quickly, intrusively, and without regard for the ettiquette of formal photography, showing people, places, and entire sub-cultures that much of the country had either marginalized or forgotten. He wasn’t polite about it. He didn’t ask people to say cheese. He shot through the windshield, directly into streetlights. He didn’t worry about level horizons, under-or-over exposure, the limits of light, or even focal sharpness, so much as he obsessed about capturing crucial moments, unguarded seconds in which beauty, ugliness, importance and banality all collided in a single second. Not even the saintly photojournalists of the New Deal, with their grim portraits of Dust Bowl refugees, had ever captured anything this immediate, this raw.
Frank escaped a baker’s dozen of angry confrontations with his reluctant subjects, even spending a few hours in local jails as he clicked his way across the country. The terms of engagement were not friendly. If America at large didn’t want to see his stories, his targets were equally reluctant to be bugs under Frank’s microscope. When it was all finished, the book found a home with the outlaw publishers at Grove Press, the scrappy upstart that had first published many of the emerging poets of the Beat movement. The traditional photographic world reacted either with a dismissive yawn or a snarling sneer. This wasn’t photography: this was some kind of amateurish assault on form and decency. Sales-wise, The Americans sank like a stone.
Around the edges of the photo colony, however, were fierce apostles of what Frank had seen, along with a slowly growing recognition that he had made a new kind of art emerge from the wreckage of a rapidly vanishing formalism. One of the earliest converts was the King of the Beats Himself, no less than Jack Kerouac, who, in the book’s introduction said Frank had “sucked a sad poem right out of America and onto film.”
Today, when asked about influences, I unhesitatingly recommend The Americans as an essential experience for anyone trying to train himself to see, or report upon, the human condition. Because photography isn’t merely about order, or narration, or even truth. It’s about constantly changing, and re-charging, the conversation. Robert Frank set the modern tone for that conversation, even if he first had to render us all speechless.
By MICHAEL PERKINS
MOST OF US ENTER PHOTOGRAPHY WITH THE SAME AIM, that is, to arrest the flight of something precious with the trick effect of having frozen time. Someone or something is passing through our life all too quickly, and we use our cameras to isolate small pieces of those passages like a butterfly inside an amber cube. That means that our first work is our most personal, and, while we may later graduate to more general, more abstract recordings of light, subject, and shape, we all begin by chronicling events of the most intimate nature.
And as we grow into more interpretative, less reportorial imaging, we also grow away from the clear, focused aim of that earlier work. Be it a triptych of a birthday, an anniversary, a wake or a christening, we understand clearly what a snap is for, what it was after. Its purpose and its message are unmistakable, something that cannot always be said for other kinds of photographs. Indeed, looking back on some of our own output at the distance of just a few years, we can actually be at a loss to explain what we were going after in a given photograph, what we were trying to say. This doesn’t happen with the snap. Its subject matter, and the degree to which we correctly captured it, is readily visible.
This may speak to why photographers are often asked why they don’t take “more pictures of people”, or, more specifically, why did you take a picture of this person? Do you know him? No? Then why……..?? It isn’t that a connection between yourself and people who are strangers to you can’t be made in a photograph. It’s that it’s a lot harder to effectively tell that story. it requires less from the camera and more from you.
You need to fill in a lot more blanks in a tale in which fewer elements are pre-provided. You can convey something universal about the human condition with a picture of something outside your own experience, certainly. It’s just that it’s easier to make the link that exists between you, your mother, her birthday, and her surrounding gang of friends than between yourself and someone who is essentially alien to you, or to the rest of us. Of course, on the other side of the ledger, you can also shoot a bajillion pictures of those closest to you, and still manage to convey nothing of their true selves. Mere technical acuity is not intimacy, or vision.
Still, in general terms, the snap deserves a lot more respect than it gets, simply because there is, in these personal images, a near-perfect match alignment of shooter, subject and clarity of purpose. By contrast, when we venture out into the greater world, trying to tell equally effective stories with much less information is hard. Not impossible, but, man, really hard.