By MICHAEL PERKINS
I REMEMBER BEING FASCINATED as a child by the 1963 film The Birdman Of Alcatraz, based loosely on the life of murderer Robert Stroud, whose accumulated crimes drew him a life sentence, much of it spent in solitary confinement. The movie, starring Burt Lancaster, centered on Stroud’s almost accidental introduction to birds, an improvised pastime which blossomed into an extensive and self-taught study of ornithology. The story’s biggest impact on me was the idea that someone could center on the smallest scintilla of hope, something others around you might ignore or simply not see at all, and that such small things might lead beyond mere survival to a kind of separate peace, even wisdom. In retrospect, I probably should have chosen a better model than that of a total psychopath. Still, the idea of being able to successfully navigate isolation was one that occasionally fascinated me over a lifetime. It’s also come to mind a great deal over the past year.
To paraphrase a cliched expression, we are all Burt Lancaster now; we have all learned to place greater focus on smaller worlds, and it is no accident that one of the biggest growth industries during our Global Great Hibernation has been the hobby of birdwatching. It’s cheap, it’s relatively easy to break into, and it’s as close as your window. More importantly, it’s a reassurance that life, or some semblance of it, has gone on, even if all we can do is watch as it wafts by. Like Stroud, we are all improvising to reduce the ache of greatly reduced circumstances. And like prisoners everywhere, confined behind either tangible or figurative bars, we are able, maybe for the first time, to see, in depth, something that was all but invisible to our previous system of seeing.
For photographers, including this one, birds can be a metaphor for many things we already value about our art. Color, motion, texture, context, even a kind of portraiture…all are addressed in trying to assign traits or personalities to flying creatures. Working from the long, empty days, we slow down and deepen our observational powers. We view things in finer depths and degrees, in inches rather than miles now. I will freely admit that my own photographic coverage of birds had been, during The Before Times, confined to the easiest, most obvious captures; flocks caught accidentally in a vast beach vista; raptors in zoo cages; the occasional comic shot of a gull stealing a hot dog, etc. The quarantine has altered all that, stretching time like taffy, elongating our implementation of any undertaking from hours to days. But this is not an effort to overprescribe a general therapy for everyone; your “birds” may be furniture, the veins of a leaf, still lifes of your accumulated buffalo nickels. This is why we have congregations of varying denominations. While I am worshipping at the first temple of the ruby-throated sparrow, you may bow your head at the Community Church of the Holy Art Deco Ashtray or some such. The idea is that photography always benefits from patience and deliberation. Snap shots are marvelous manifestations of our impulses, but they are not the products of quiet contemplation.
My point is that there is room in your photography for both the spontaneous and the deliberative. In my case, tiny tweeters have become a kind of surrogate for human subjects, as I find myself searching their faces for traces of motive, emotion, even joy. Unlike the Birdman of Alcatraz, most of us will eventually be sprung, released back into the larger work yard, hopefully having learned a little more about playing well with others. And the pictures we made behind walls will be, in lasting ways, capable of taking grander flight.
By MICHAEL PERKINS
T.S. ELIOT ONCE ASKED, POIGNANTLY, ‘WHAT IS THE SOUND OF ONE HAND CLAPPING?‘ as if there could be no lonelier thing in this weary world. However, had he been a photographer, he might also have mused about the sound of one wife sighing, as her husband assures her that “I just need one more shot“, or “you can all go ahead, I’ll meet you at the gift shop.” Such assurances would be enough to send Mrs. Eliot’s one hand clapping T.S. soundly about the ears.
We really do hear the steam escaping from our wives’ ears as we mutter about whether we need a prime lens or a wide-angle for our next masterpiece. We understand that it’s not much fun watching your beloved stare at a pile of junk in a dark alley, pondering whether it all makes a profound statement about the state of the world. We get the fact that you might prefer that we answer your question about whether your mother should come and live with us, rather than mumble, “if I close down to f/11 to get past that glare, I’m gonna lose two stops of light…”
In short, we know what a colossal pain it is to be with someone who constantly hauls around a mad gaggle of gears, gauges, geegaws and gadgets. We even realize that you might have a hard time remembering the last time you saw us walking around on only two legs…..you know, without the tripod.
We stipulate that, sometimes, a hunk of rock is just a hunk of rock, not a canvas on which to mount our genius, just as “a little light reading” to the rest of the world might mean a beach thriller by Robert Crais, not the flash attachment section of the B&H Video catalog. We even admit that it’s a little catty of us to stare across the room at a restaurant and make our one contribution to the table’s conversation with, “look at that stupid guy. He’s not even framing up his shot!”
Yes, ladies, we need to not so much “get a life” as to get a slightly larger, wider one. So, thank you for reminding us that, if we fall off this mountain by stepping back for the perfect composition, we might make orphan our children. Thank you for occasionally filling us in on certain details of said children’s lives, such as their proper names, birthdays, distinguishing features, etc. Thank you for not wincing when we name the family dog Steiglitz. Thank you for not leaving us for dead when we use the foil cover from your best picnic casserole for a makeshift bounce reflector.
Mostly, as in the above scene, we humbly thank you for not seizing the opportunity to dump us and our dratted gear in the nearest abyss.
And then taking a picture of it.
And then laughing, hysterically.