By MICHAEL PERKINS
IT’S A TITANIC CLICHE, BUT RESOUNDINGLY TRUE: if you want a child to reveal himself to you photographically, get out of his way.
The highly profitable field of child portrait photography is being turned on its head, or more precisely, turned out of the traditional portrait studio, by the democratization of image making. As technical and monetary barriers that once separated the masses from the elite few are vanishing from photography, every aspect of formal studio sittings is being re-examined. And that means that the $7.99 quickie K-Mart kiddie package is going the way of the dodo. And it’s about bloody time.
Making the subject fit the setting, that is, molding someone to the props, lighting or poses that are most convenient to the portraitist seems increasingly ridiculous. Thing is, the “pros” who do portrait work at the highest levels of the photo industry have long since abandoned these polite prisons, with Edward Steichen posing authors, politicians and film stars in real-life settings (including their own homes) as early as the 1920’s, and Richard Avedon pulling models out of the studio and into the street by the late 1940’s. So it’s not the best photographers who insist on perpetuating the restrictive environment of the studio shoot.
No, it’s the mills, the department and discount stores who still wrangle the kiddies into pre-fab backdrops and watch-the-birdie toys, cranking out one bland, safe image after another, and veering the photograph further and further from any genuine document of the child’s true personality. This is what has to change, and what will eventually result in something altogether different when it comes to kid portraiture.
Children cannot convey anything real about themselves if they are taken out of their comfort zones, the real places that they play and explore. I have seen stunning stuff done with kids in their native environment that dwarfs anything the mills can produce, but the old ways die hard, especially since we still think in terms of “official” portraits, as if it’s 1850 and we have a single opportunity to record our existence for posterity. There really need be no “official” portrait of your child. He isn’t U.S. Grant posing for Matthew Brady. He is a living, pulsating creature bent on joy, and guess what? You know more about who and what he is than the hourly clown at Sears.
I believe that, just as adult portraiture has long since moved out of the studio, children need also to be released from the land of balloons and plush toys. You have the ability to work almost endlessly on getting the shots of your children that you want, and better equipment for even basic candids than have existed at any other period in history. Trust yourself, and experiment. Stop saying “cheese”, and get rid of that damned birdie. Don’t pose, place, or position your kids. Witness these little joy generators in the act of living. They’ll give you everything else you need.
By MICHAEL PERKINS
PICK ANY PHOTOGRAPHIC ERA YOU LIKE, and most of the available wisdom (or literature) will concentrate on honoring some arbitrary list of rules for “successful” pictures. On balance, however, relatively few tutorials mention the needful option of breaking said rules, of making a picture without strict adherence to whatever commandments the photo gods have handed down from the mountain. It’s my contention that an art form defined narrowly by mere obedience is bucking for obsolescence.
It’d be one thing if minding your manners and coloring inside the lines guaranteed amazing images. But it doesn’t, any more than the flawless use of grammar guarantees that you’ll churn out the great American novel. Photography was created by rebels and outlaws, not academics and accountants. Hew too close to the golden rules of focus, exposure, composition or subject, and you may inadvertently gut the medium of its real power, the power to capture and communicate some kind of visual verity.
A photograph is a story, and when it’s told honestly, all the technical niceties of technique take a back seat to that story’s raw impact. The above shot is a great example of this, although the masters of pure form could take points off of it for one technical reason or another. My niece snapped this marvelous image of her three young sons, and it knocked me over to the point that I asked her permission to make it the centerpiece of this article. Here, in an instant, she has managed to seize what we all chase: joy, love, simplicity, and yes, truth. Her boys’ faces retain all the explosive energy of youth as they share something only the three of them understand, but which they also share with anyone who has ever been a boy. This image happens at the speed of life.
I’ve seen many a marvelous camera produce mundane pictures, and I’ve seen five-dollar cardboard FunSavers bring home shots that remind us all of why we love to do this. Some images are great because we obeyed all the laws. Some are great because we threw the rule book out the window for a moment and just concentrated on telling the truth.
You couldn’t make this picture more real with a thousand Leicas. And what else are we really trying to do?
By MICHAEL PERKINS
I IMAGINE THAT, IF SOMEONE UN-INVENTED CHRISTMAS, the entire history of personal photography might be compressed into about twenty minutes. I mean, be honest, was there ever a single event or phase of human experience for which more images were clicked than the holiday season? Just given the sheer number of cameras that were found under the tree and given their first test drive right then and there, you’d have one of the greatest troves of personal, and therefore irreplaceable, images in modern history.
Holidays are driven by very specific cues, emotional and historical.
We always get this kind of tree and we always put it in this corner of the room. I always look for the ornament that is special to me, and I always hang it right here. Oh, this is my favorite song. What do you mean, we’re not having hot chocolate? We can’t open presents until tomorrow morning. We just don’t, that’s all.
If, during the rest of our year, “the devil’s in the details”, that is, that any little thing can make life go wrong, then, during the holidays, the angel’s in the details, since nearly everything conspires to make existence not only bearable, but something to be longed for, mulled over, treasured in age. Photographs seem like the most natural of angelic details, since they lend a gauzy permanence to memory, freezing the surprised gasp, the tearful reunion, the shared giggle.
As the years roll on, little is recalled about who got what sweater or who stood longest in line at GreedMart trying to get the last Teddy Ruxpin in North America. Instead, there are those images…in boxes, in albums, on hard drives, on phones. Oh, look. He was so young. She looks so happy. That was the year Billy came home as a surprise. That was the last year we had Grandma with us. Look, look, look.
So remember, always….the greatest gifts you’ll ever receive aren’t under the tree.