By MICHAEL PERKINS
PUBLIC STRUCTURES CAN BECOME THE MOST OVER-PHOTOGRAPHED objects on the planet, especially if they strike people as personally symbolic. As visual icons of status, history, empire, and other human yearnings, our buildings and gathering places can flood the world market with images, as everyone does their “take” on things that have already been explored beyond human imagination. Eventually, saying something new about these places can be a challenge, since all the obvious renditions of it have themselves become iconic. That is to say, the predominant way most people have photographed a thing becomes, itself, the “official” way of looking at it.
This problem exists less with new or emerging destinations, places that are not as yet pre-imagined into “correct” photographic interpretations. Such sites are, if you will, fresh out of the oven. Be one of the first hundred million or so to “discover” a special place, and you may just have a chance of looking at it in an original way, before the prevailing version becomes carved in stone. Take two iconic sectors of Manhattan as an example. One has to really, really strain to make a new image of the Empire State Building, and so many of us just shoot our copy of the expected view. Head down to Ground Zero, however, and it seems much easier to do a lot more, imagination-wise, with something like the Oculus, the space-erific replacement for the PATH terminal that was destroyed on 9/11. Its contours still surprise. Its overall design intention is still a matter of personal conjecture. It has not yet become either universally beloved or universally despised.
Art thrives in areas where, conceptually, we haven’t truly made up our minds…where the jury’s still out. Photographing something in an influential vacuum….that is, uninfluenced by all the others who have discovered the subject before you…is difficult. Both the glorious and the notorious attract shooters like a summer porch light does moths, and soon, what I call the “postcard average” version of a thing emerges, and is cemented into place. At that point the photographer who wants to mine something new out of the subject has to be prepared to dig deep, to undercut expectations. But when we measure the impact of a thing with our own eyes, rather than just recording our agreement with the popular view, then the mob stops being in charge inside our heads. Then we can actually see.
By MICHAEL PERKINS
PHOTOGRAPHY’S FIRST HALF-CENTURY OR SO can be seen as a road race with the world of painting, with both runners trying to outpace each other in “realistically” depicting the world. The camera, being an actual recording machine, was first reviled, later praised as a more reliable chronicler of the actual world. Painters, in reaction, quit the reality playing field, inventing new, more abstract forms of expression like Impressionism, and left the documentary work to photogs. Or so everyone assumed.
After 1900, photographers, too embraced the idea that mere “reality” was overrated and developed their own very individualistic ways of making images, introducing the first manipulations of film, light, lenses, printing techniques and composition. Freed from the stricture of merely capturing a scene, shooters began to propose alternative visions, to interpret the world in very subjective ways. Today, one’s photographs can be as tightly naturalistic or as loosely abstract as one pleases, with some of the most impactful pictures being the ones that seem to be about nothing in particular. These “absolute” compositions, basic arrangements of color and light, may not be storytelling images in the same way that a war photo or a news snap are. They not only don’t provide explanations, they don’t even require them. The terms of engagement for such photographs are stark and simple: they’re pictures because we say they’re pictures, and they either grab you or they don’t.
My own training in photography manifested itself as a need to exercise control, to execute well and follow the rules of technique faithfully. However, my idea of getting a picture “right”, which might easily have stopped at just technical precision, has, thankfully, continued to crawl forward toward the kinds of absolutes I described before. Pictures that just are, such as the one shown here, pose a problem for me, since I have to leave the safety of things I know that “work”, entering a realm where I’m not sure where the paths are. I truly love what happens when I relax my grip on the old reliable truths and let things just happen, but it’s also a bit like walking in space: my tether could break, and I could be cast adrift.
The first time I heard someone, in speaking of one of my photographs, ask, “what’s that supposed to be?” I was stung, nervous. The question is, of course, ridiculous, as if there were only one way to represent the world, with every other way somehow counted as wrong. But the camera is not (and never was), a mere measuring and recording instrument. Over the centuries, it has been whatever we have asked of it, a seismograph of our own undulating curiosity. We learn to see by learning its operations. We learn to listen by shutting out every other sound except our own clear voice.
By MICHAEL PERKINS
Each friend represents a world in us, a world possibly not born until they arrive, and it is only by this meeting that a new world is born.” – Anais Nin
IF YOU WANT TO LEARN EVERYTHING YOU NEED TO KNOW ABOUT A PERSON, observe them in a relationship.
Alone, each of us is a sealed chamber of secrets. Matched with just one other living thing, however, an individual’s inner truths begin to seep out, to display themselves like buds slowly blossoming into blooms. Photographers concentrate mightily on solo portraits, and that is certainly a treasure trove of its own, but the visual grammar of a portrait is completely different than that of a group shot, and provides completely distinct information. The self has its native language, but when we are placed in a situation with others, be it a simple social chat or a key interaction, we are translated into a different tongue altogether.
We experience joy, regret, conflict, triumph as individuals, and a photograph can certainly read pieces of all of that (or at least imply it), but once we are in twosomes, threesomes, and so forth, all those emotional states are measured differently. The signals become amplified, more easily detected. Of course, people in conversations can be presenting completely false versions of themselves (spoiler alert) , but, in an image, the mask can be seen to slip, if only a little, revealing at least a smidgeon of the real person beneath the guise.
Admittedly, a photograph is not an x-ray, and so anything it records is open to interpretation, including our guess about the actual mindset of the subject. Translation: the camera can easily lie, or transmit a falsehood. Once that untruth is out in the open, however, the viewer is the jury that determines whether what’s on display is fact or fiction. My point is that palpably different things are in view in pictures of social interaction than in images of isolated individuals, and so all shooters should be conversant in mining both areas. The fact that the faces of the two women in the top picture are concealed is no more an inhibitor to our discovery than the plainer display of expressions of the duo on the subway. Our minds will devise their own ways of decoding these interactions. The fact remains that a whole extra level of view into the human mind/spirit can be achieved in watching people interact. For me, it’s the difference between shooting through a window to catch a glimpse of a house’s interior and being invited inside the place for a better look.
But that, as they say on the shrink’s couch, is just me.
By MICHAEL PERKINS
IT HAS BEEN CALLED “THE EIFFEL TOWER OF AMERICA”, a “stairway to nowhere”, a “bold addition to the city’s landscape” and “an eyesore”,…….in other words, a new structure in New York City. Whatever its eventual place in the hearts of Manhattanites, architect Thomas Heatherwick’s Vessel, a hollow, honeycombed tower of open staircases, viewing landings and dizzying geometry, all sixteen stories of it, has become the visual exclamation point for the continuing explosion of shops and businesses known as Hudson Yards, a project so huge it may not max out for another decade. At this writing, it’s late 2019, and the tower’s creators, who claim the name “vessel” is just a transitional one, have already weathered a short tsunami of plaudits and protests since the beehive’s opening earlier in the spring. And in a city defined by bold visual signatures, the structure seems destined to become a darling for photographers, especially at its current newborn phase, in which there is, as yet, no “official” way of viewing it, no established postcard depiction to inhibit or limit individual visions. It’s at this first phase in a landmark’s life that all captures are equal: it’s the photographic equivalent of the Wild West.
Vessel sits near the periphery of the High Line, the internationally praised West Side reclamation of the New York Central Railway’s old raised infrastructure, which now welcomes millions of strolling visitors and locals each year along its 1.45 miles of twisty, landscaped boardwalks, and has acted as the launch pad for recovery of the entire area, including Hudson Yards’ forest of skyscrapers and high-end shops. The first phase of the Yards is crowned by a glistening five-story mall whose massive glass facing wall is directly opposite Vessel. On the day when I visited, the free timed daily tickets to the inside of the honeycomb were all gone, so viewing it in the regular fashion was off the table. However, every floor of the mall has a spectacular view of the structure and its surrounding plaza, which actually appealed to me almost as much as a trip inside. The combination of reflection, refraction, and the golden glow of the approaching sunset made for a slightly kaleidoscopic effect, and so I decided to re-configure my plans. As mentioned before, the utter newness of the tower plays superbly well into photographic experimentation, as its design seems to present a completely different experience to the viewer every few feet, a very democratic sensation that rewards every visitor in a distinctly personal way. Besides, part of the fun of seeing new things in New York is weighing the hoorays and howls against each other and then making up your own mind.
In a city that has seen both P.T. Barnum’s dime museum and Penn Station fade from the scene over the centuries, it’s useless to guess whether Vessel is eventually regarded as a must-see or a fizzle. But it doesn’t matter much either way. Right now, it is neither building nor dwelling. Like Eiffel, it just is, and maybe that’ll be enough. In the meantime, photographers are using the opportunity of its present existence to celebrate the uncertainty that informs the making of the best pictures.
By MICHAEL PERKINS
PATTERNS ARE KIND OF A PHOTOGRAPHIC ABSOLUTE, in that they require no context for comprehension in an image. We needn’t explain such arrangements of negative and positive space, such as the latticework of a single snowflake: their mere existence is story enough. We find endless fascination in the spirals within the heart of a flower, the alternating light and shadow inside a stairwell. Of course, we can certainly take the time to remark further about them, but the best photographs of patterns go way beyond our ability to justify them with mere words. In a visual medium, they are their own best testimony.
Other patterns resist interpretation for the reason that they are clearly of another time, so far removed from our own present-day experience as to be meaningless to us beyond their shape and contours. We can view mosaics from a vanished culture, but are prevented from deciphering their symbols: we find a flute from centuries past but can’t read the notated music that was intended to be played on it. In more recent terms, the technology that remade the planet during the industrial revolution of the nineteenth century has left behind a rusting legacy of devices which speak very little as to their original functions. Masses of gears, wheels and belts which once were the stuff of everyday existence now need captions to even be comprehended by our eyes. Thus, as visual subjects, their patterns are so obsolete as to be abstract, presenting merely a mixture of textures and tones to our contemporary cameras.
The world is moving so quickly that even the wildly speculative “future” gizmos seen at the World’s Fairs of the 1960’s already need auxiliary context to be fully appreciated. In one respect, as purely visual artists, we are actually freed by this phenomenon. When a thing becomes unanchored from its original purpose, the photographer can assign any purpose to it that he pleases. The object is nothing, and so, paradoxically, it can be everything. Consider the mass of machinery in the above shot. Were I not to tell you its original use, would you recognize it as part of the machinery to be found in a flour milling facility from the 1800’s? Does knowing or not knowing that fact detract from its impact as an image? Are you all right with patterns that are truly absolute, scenes that are merely themselves, and nothing more?
You are always in charge of what you want your pictures to say. You can record events and people at face value, or you can imbue them with additional meaning. Or no meaning whatsoever. The camera is thus just a servo-mechanism. It’s not in charge of saying what the world is. That power, that responsibility, has always been yours and yours alone.
By MICHAEL PERKINS
THE FIRST MASTERS OF PHOTOGRAPHY STRUGGLED with processes and tools that seemed to stack the deck against the chances that anyone would ever, ever create even a single photograph. Those first exposures, made with slow media and balky, uncertain lenses were not only works of art, but they were truly just plain, flat out work. I recently viewed a video demonstrating the bygone method known as photogravure, the means by which any “serious” photographic artist would render his work for critical approval in the late 19th-century. I was so utterly crushed by the sheer unforgiving precision needed to complete the process that I dropped to my needs and thanked the photo gods for giving me the luxury to merely….shoot. I felt at once lazy and liberated.
One thing these old exposure and processing systems did, however, is fix their visual aspects in time, so that, in our mental sorting process, we easily differentiate between the look of an 1850 wet-plate image and a 1950 Polaroid Land camera snapshot. Various periods in the methodological development of the art have their own distinct signatures. The strange thing is how, in the present era, we use apps and editing suites to summon those old ghost looks back into the present, mixing periods together like a cook throwing all his available ingredients into a garbage salad. We no longer give any thought to making something look old, or retro-old, or ironically old-ish. All times periods can exist in the same image, and whether they have any natural relation to each other is a moot point, if a point at all. We just do it because we can just do it.
In the above picture, for example, I’m merely playing, without any real object in mind. The master photograph on which this remix is based was taken two months ago (Summer 2019) at the main greenhouse building at Minneapolis’ Como Park. The structure’s classic design, complete with rounded cupolas and gently curving rooflines, reminded me of the immense halls that were erected in the 1800’s to house international expositions, industrial shows and world’s fairs, and so I took a fairly straightforward shot from a cell phone and cranked it through an app to evoke an echo of that time, a visual masquerade that mimics the tintype process, right down to its selective pinpoint focus and plate grain. Admittedly, the illusion is spoiled a bit, since the people in the picture are wearing shorts and t-shirts rather than bustles and straw boaters, but that’s not the point. I wasn’t trying, like some master art forger, to make you think this was a newly discovered artifact of the Victorian age. And while I might have been trying to comment on “how we used to think of the purpose of grand public spaces”, or how that contrasts with the public spaces we value now…..I wasn’t. I was just goofing off, using quick and amazing tools the way a child might take Mr. Potato Head’s nose and put it where his ear should be.
What is singular, however, is knowing that any part of photography can be harnessed or combined with every other part of photography at any time. That’s not a hot bulletin, but it is worth pointing out from time to time that, after centuries of innovation, our art is now, like Kurt Vonnegut’s Billy Pilgrim, truly unstuck in time. Backwards, forwards, or right in the middle, what we shoot and where we stand are completely under our control.
By MICHAEL PERKINS
THE BASIC STRUCTURE OF A LINEAR STORY IS ENGRAVED into the DNA of our collective minds in what amounts, essentially, to three words: beginning, middle, end. Three distinct phases that indicate the birth, development, and logical terminus of a narrative. You start at the left and end up at the right, like the eye reading a written sentence. That’s storytelling in a nutshell.
But are all three elements present in a photograph?
As a static moment stolen from a million zillion consecutive other moments, a frozen instant plucked out of context, a photo is, almost of necessity, missing some of the standard elements of a narrative. The shooter cannot take us on a complete journey from beginning to end. Instead, he must choose one part of that sequential timeline and make it speak for the entire process. And so we make pictures of things that are just getting under way. We make different pictures of things that are in the process of progressing or changing. We make still others of things that are coming to a close. What we choose to show affects the conversation we are having with our audience. Will they understand what point in the continuum of a story we’ve chosen to display? Does their imagination or memory supply missing information about what’s not shown, through speculation, intuition? Pictures can’t show everything, nor do all pictures even show the same kind of information. However, over generations of transactions between shooter and viewer, there is a kind of understood, if unspoken language of what was meant and what was received.
This exchange is instantaneous and instinctive, but we can step back and analyze it. For example, in the above photo, what information is given, and what is withheld? Are we at the entrance into something, or near the escape out of it? Is this a scene of quiet serenity or dark foreboding? Is there a correct answer? Does there need to be?
You and you alone control the choices, often made in an instant, of what visually makes it into the final edition of a photograph. Some of those choices will be deliberate. Others will be reactive. Photographers can either conceal or reveal, and their editorial decisions, whether done at leisure or in a blink, determine what pictures we regard as memorable, or visceral, or genuine. What I’m getting at here is that storytelling is only partly about equipment, or even conditions, like light or weather. And that only makes sense: it would be foolish, after all, to think of a novel as great merely because of which pencil or keypad the author used, or to judge a musical performance by the piano. And so the most crucial element in photography must, must, must be the eye. Once that is sharpened, storytelling hits full throttle, and, conversely, without that acuity, all we can hope for is the occasional happy accident. No one picture tells the entire story, but we are in charge of what clues make it to the viewer. And that is one amazing superpower.
By MICHAEL PERKINS
This is important. This means something….
Roy Neary, Close Encounters Of The Third Kind
I HAVE NEVER TRIED TO SCULPT THE MASHED POTATOES FROM OUR NIGHTLY DINNER into a replica of Devil’s Tower, but, as a photographer, I have experienced plenty of Roy Neary “a-ha” moments, marveling as a seemingly bland tableau pops into something very, very different in my mind’s eye. It’s the transformational moment that, when it occurs, justifies all of the sit-and-wait and close-but-no-cigar moments associated with making pictures. It is so invigorating that it re-enlists the weariest of us for yet one more tour of duty. Even the chance for experiencing a Roy Neary moment, what I call the Dreyfus Reflex, will shore up our courage and refresh our dedication. Hey, magic happened that one other time, we say. It might happen again.
But learning to see creatively is not merely a matter of being willing to receive a visual message from the great beyond. Seeing is an exercise, no less than a push-up or a jumping jack. It’s a matter of perfecting yourself as a receptacle, as a kind of pipe through which ideas can flow freely. The pipe has to be constantly widened and re-opened, and the exercise of learning to see ensures that, once an idea is at the entry point to the pipe, its path is unobstructed. Thus, the photographic concept is not coming from you so much as it is flowing through you. Learning to see photographically means, then, being “open” to a perception that, without practice, might never become apparent, but which, having become so, urges a photograph.
It means, in a sense, getting out of your own way.
Going back to our Close Encounters metaphor, Roy doesn’t start out thinking his dinner spuds resemble a mountain top. He gradually learns to accommodate ideas that are so un-obvious to everyone else that he seems crazy. Effectively, Roy has become an artist, in that he can look at one thing and see something beyond its mere surface appearance. In that moment, he is every poet, every novelist, every painter, and, yes, every photographer who ever lived. Similarly, any subject matter, such as the stalk of wheat seen here, can take on endless new identities, once we’ve become comfortable with it being more than one thing, or one version of a thing.
I once had a friend tell me that his favorite compliment as a photographer occurred when he was comparing pictures that he and a friend had taken from the very same trip, passing by identical sites and locations. “Where did you see that??” his companion remarked, indicating that while the two men’s sets of eyes were physically pointed in many of the same directions. they had come away with vastly different impressions. Does this process make one set of pictures “better” than another? Certainly not. But it does illustrate that there is more than one level of seeing, so that, even if my friend were to visit all those places alone, on different days, very different things would emerge in the pictures from varying shoots. What accounts for this variance? The light and the subject could be made to match: the gear and its settings could be replicated: even the precise time of day could be re-created, and yet the pictures of the same things by the same person would probably contrast noticeably with each other. And knowing all of that, when you set out as a photographer, means you’re aware of, and eager to exploit, the Dreyfus Reflex. What you see is just the first step of the journey: how you see it determines where the journey will eventually lead.
Nothing is revealed.—-Bob Dylan
By MICHAEL PERKINS
THE YOUNG MAN IN THE PHOTOGRAPH IS A DANDY. A FOP. A DUDE. A slave to fashion. A symbol of the impossibly proper British spirit. A remnant of the Edwardian age, teetering on the dawn of the Roaring Twenties, a decade that will later seem uniquely American. But he is not an American. Not yet.
But he has dreams.
It is around 1920.
And he is my grandfather.
The photograph is formal, a studio portrait with someone else’s furniture and carpet suppled as homey props. His gaze is intense…too serious for a young man, some might think. And yet, of course, he will need all the determination that gaze implies to book passage, very soon, on the ship Mauritania (the Lusitania’s sister ship) and enter New York City through the thresher of Ellis Island, taking a train into the great midwest, to Lorraine, Ohio, where an uncle has vouched for his industry and loyalty. He will stay in his new country for the rest of his natural life.
The picture has come to me unexpectedly, just as you see it here, from a lost trove of family lore that my sister has kept for years, finally deciding that, with my archivist’s inclinations, I “might want to do something with it.” I have never seen this image over the course of my 67 years. And, yet, seeing it, I am struck by the strange double impact of photographs, these windows into “was” that reveal and conceal equally. It is, certainly, a treat to see my grandfather as this determined young man, to place him in the context of everything else that his life would hold afterwards. But the image is also absent nearly any context of its own. The back shows it to have been printed by a British postcard company, but the message portion of the card is gone, leaving several mysteries. Who was the intended recipient? If family, was the card to serve as a forever reminder of the boy who was just about to cross the Atlantic, never to return? And, if friend, what story is left untold between he and whoever? The card is inscribed with the word “effectionately” and his full name, not merely “Leonard”. Why the formality? Is it a clue to the relationship, or just the starchy propriety which we would later know to be his hallmark?
And then there is the outfit. “Fancy” is the word that comes to mind, with its formal bowler and short leather gloves. But therein lies a case of coloring the past with the sense of the present: in the age of torn cutoffs, flip-flops and selfies, we have lost all sense of what it was, around 1920, to “have one’s portrait made”. Certainly it was a rarer thing, an occasion. Even at the dawn of the Kodak-inspired age of candid photography, many millions of people around the world were still going to their mortal reward with their faces recorded but a few scant times by a camera, and many not at all. And now, to see this picture rise out of the mist, to show Grandfather as a real person with no connection (by that time) to anyone or anything else I have inherited as family legend, is to be teased by the fact that photographic interpretation does not cease with the shooter’s intention, of the way he chooses to show a thing. It continues infinitely through the eyes of other interpreters, who take the photographer’s “reality” and subject it to a scrutiny all their own. Revelation. Concealment. Discovery. Mystery.
He seems to be trying to appear older, just, as later, he would use clothing (always the top-drawer stuff) to appear military, dignified, taller, and, always, serious. I realize now that I never saw a truly candid photo of him, regardless of the occasion or setting. Every photo was a performance, a record, a testament. Leonard George Tate Perkins is a force to be reckoned with. I am nobody’s fool. Respect must be paid.
I am now paying that respect in a new way, forty years past his death, by looking into the face of that stern young dandy, and into the open secret that all photographs hold.
Think you see the truth?
Not so fast.
By MICHAEL PERKINS
FEW WOULD DISPUTE THE IDEA that photography forever changed the way we see. However, I also believe it has altered the way we recall. The process of accessing our memories as a reference point for our thoughts and feelings was complex even before the invention of the camera. But add the seemingly “trustworthy” or “authentic” records of things interpreted by photography, though, and the sorting of memory becomes an even greater muddle. Do we remember, or do we recognize, through the inheritance of masses of images, how someone else remembered?
Through the camera, we can confuse our actual sensory experiences of things with the trove of pictures which formed our “versions” of them beyond what we ourselves have lived. Many more of us have viewed photos of the Eiffel Tower than have actually gazed upon it. When we do first encounter a “known” thing in person, one of our first reactions is often that it “isn’t how I pictured it”……that is, our collective photographic “memory” doesn’t match authentic experience.
As photographers, we are trying to see things originally even as we hack our way through the inherited gallery of images of those things that are an unavoidable element of our visual legacy from other photographers. It is damned difficult to develop our own eye, since the after-image of everyone else’s take is always present in our consciousness.
I shot the image shown here in 2011, during a typical package tour of the Statue of Liberty and Ellis Island. Part of the circuit was a brief shuttle ride to Ellis on a boat that afforded a long, wide view of lower Manhattan. I shot the picture quite unconsciously, which is to say, oh look at that cool view. Later, in combing through the day’s shoot, I saw something else in the scene, something that connected me to photographs taken generations before me: Alfred Stieglitz’ poignant scenes of newly-arrived immigrants in steerage: grainy silent newsreels of crowded ferries passing the Statue, their passengers’ faces etched with a mixture of terror, longing and joy. Suddenly my own picture was no longer about a pleasure cruise for tourists. It was my chance to take in the same view millions had seen before me: the first glimpse of The Promised Land. The New Start. The Second Chance. And for many, Life Itself.
I had already underexposed the shot somewhat to emphasize the skyline, but the picture still contained too many distracting features on the faces of the passengers. I adjusted the exposure even more and saturated the color to further create the look of a low-light, slow film stock. Their particulars muted, my tourists now replicated the “look” of all those earlier arrivals, the ones I had inherited from other people’s experiences. Had I reached a kind of communion with those millions? Could I be adding my own story to theirs?
Even though I was traveling in the same waters as the people in the archival pictures had traveled, I wasn’t them. As a native-born American, I didn’t face the terrifying pass/fail that they had as they approached our front porch. I wouldn’t come this close, see a life beckoning just beyond that window, and yet be sent back because my eye looked odd to the doctors or my papers were not in order. I found this picture again the other day. I think I have to live inside it for a while. I may not have shot it with the eye of someone new to this country, but the inherited images of lives past have asked me, in my own limited way, to bear witness to the fact that, at some time, we have, all of us, been The Other. I really don’t want to forget that.
I am a member of the blank generation. – Richard Hell
By MICHAEL PERKINS
STREET PHOTOGRAPHY HAS LARGELY BUILT ITS TRADITIONS on the truths and tales of the human face. The art of illustrating urban narratives on the fly relies chiefly on how those stories register on those faces. It’s a visual drama that no shooter can resist.
But the story of how, for good or ill, modern cities affect people….the way they process, channel, contain or empower them as moving props……that kind of story can be told without clear or readable facial features. This doesn’t mean that “humanity” doesn’t matter in these pictures: it means that some images are designed to show how it’s impacted that humanity en masse rather than one person at a time.
There is one other singular thing that happens when a photograph renders a face as a blank canvas. It means that, for the interpretive viewer, that face can now contain whatever he/she wants it to. In such pictures, both photographer and audience are in a kind of coded conversation about what the image “says”.
To illustrate this point: the above photo may or may not be about anything more dramatic than three men in the act of riding an escalator, headed for lunch/a meeting/the parking lot. However, since their features are shrouded in shadow and presented in a softer focus, I can intend a message of my own devise, and outside eyes can supply subplots that either complement or derail that narrative. That’s the kind of chat that keeps an art throbbing along. It allows everybody on either side of a photograph a chance to paint portraits based on their own eye.
By MICHAEL PERKINS
EDWIN M. STANTON, Abraham Lincoln’s Secretary of War, is, regarding photography, in the unique position of having acted both wisely and foolishly following the death of his Commander-in-Chief. Foolishly, because, at the request of the president’s bereaved widow, he reportedly ordered the destruction of the only glass plate negative showing the fallen president lying in state…..and wisely, because he apparently kept a personal print of the image amongst his personal papers, lost to history until a teenage Lincoln afficionado accidentally stumbled upon it in 1952. Stanton’s actions, along with those of the First Lady, betray a very human ambivalence to the camera’s ability to either annihilate or preserve memory, based on one’s viewpoint.
With its power to extract discrete slices of time, the photograph does provide a permanent record for the mournful….but is that comforting, or rather a clinical way of obviating the more personal, if less precise preservation afforded by memory? Did the camera enable us to re-conjure our loved ones at will, or did it deny us the right to keep them in the very private part of our hearts that exists beyond vision?
Essayist and librarian Jean-Noel Jeanneney, writing of the first days of photography, remarked that “the people who lived in the second half of the nineteenth century and the first part of the twentieth are the first in the long history of humanity to be able to see accurate and faithful portraits of their predecessors…..their ancestors are no longer the imagines carried at funeral ceremonies, no longer the painted mementoes devised as aides–memories. Instead, they appear to us as all too horribly true to life: perhaps that is why, today, a greater pathos is attached to our relationship to the departed…..”
The photographer is never merely a chronicler, and so images of the most important people of our experience can never really be mere snapshots. We frame faces in the shadow of our own influence, and time itself re-touches the images years after they are captured. Hence portraiture is never a purely casual act. Mr. Stanton and Mrs. Lincoln were both right, in their own ways. One could not bear the lingering memory of her husband. The other could not endure the idea of a world without his President.
Our last memory of a person may not literally be a shot of them in the coffin, but the impact, many ages on, of even their smallest interactions with this life makes images of them among the most remarkable of human documents. That confers a unique honor, as well as a profound responsibility, upon the photographer.
By MICHAEL PERKINS
MORE INK HAS BEEN POURED OUT about Henri Cartier-Bresson’s notion of “the decisive moment” than perhaps any other chunk of photographic philosophy ever hashed out between honest brokers. HCB’s assertion was, essentially, that there is a single, ideal instant in which a picture of something will be, like an apple, perfect for the plucking. Miss that moment, and all is lost.
While some applaud this theory as holy scripture, others dismiss it with a vulgar reference to bovine by-products. All well and good. Everyone needs to evolve a belief system that drives their personal photographic vision. The important thing is to evolve something.
Personally, while I don’t believe there is only a single moment that will make an image immortal, I also don’t think that just any moment you choose to freeze an event is as good as every other moment. Conditions, timing and decisions matter in the making of a picture, and, when they intersect, the magic happens.
So the number of “decisive moments” for an event, for me, would number about three. Think of them as acts in a play, each act performing a distinct element in a dramatic story. Act One shows things that are about to happen: a nearly blooming blossom: the minutes before street lights are turned on for the evening. Act Two depicts something that is in the process of occurring: candles on a cake being blown out: a pistol shot. And Act Three shows where things have now completed. A concert crowd leaves the theatre: a dog snoozes after a long day of play.
The image seen here can potentially be an example of any of the three acts. Are the backstage props being spread out in anticipation of a show? Is the performance, unseen from this angle, being given right now? Or have the stage hands already begun to strike the tents and gather everything up before moving the players on to the next town? All three interpretations are of specific places in time. And all can be “decisive moments” when the right bond between photographer and viewer is established.
By MICHAEL PERKINS
THE BEST THEATRES ARE LIKE THE GREATEST PHOTOGRAPHIC STUDIOS, in that they are, occasionally, both the physical place where great things are staged and great things in and of themselves. They are distinctive in that, years after they house miracles, some of the magic seems to linger in the air, as if it’s imbedded in the very bricks. To see the room where Richard Avedon created key touchstones of twentieth-century culture is, for some, to see more than the room itself. And to see a grand painted lady of the theatrical world is, likewise, to breathe in a rich perfume of opening nights and ovations. And to be allowed to use one medium’s eye to capture another medium’s mystery is a gift, a privilege.
New York’s Schubert Theatre qualifies, to my eye, as sacred space, the imperial nexus between ambition and triumph that has witnessed plenty of both since opening its doors with a production of Hamlet on October 2, 1913. The Schubert, like many of the theatre district’s most venerable venues, is rich in architectural grandeur but modest of scale, seating only 1,460. However, within that compact space, a century’s worth of peerless talent has rolled up the grandest roster of winners in all of Broadway history, still boasting the all-time record run with 6,137 performances of A Chorus Line, which graced the Schubert’s stage for an astonishing fifteen years. Hits not only come first to the Schubert: they come to stay, with multiple-year champs like Crazy For You, Chicago, and Spamalot carrying on the tradition of The Philadelphia Story, Pal Joey, Kiss Me, Kate, Bye–Bye, Birdie, Oliver!, and the 2017 revival of Hello, Dolly!, which set the all-time box office record for the place.
So, how to photograph the theatre of theatres? For my first attempt, a dark exposure to deepen the classic red of the main curtain, paired with a soft-focus foray into the molded plaster figures and light fixtures flanking the side boxes….a dreamy look designed to summon forth blythe spirits. Because, while you can put up four pieces of sheet rock and call the results a theatre, some studios, some stages ring with their own life, long after the last hurrah has faded, and trying to capture that echo in a box can be the greatest show in town.
By MICHAEL PERKINS
I WOULD ARGUE that most of the photographs commonly referred to as “self-portraits” are anything but. The tidal wave of daily images in which the photographer is also the subject are, in the main, merely our own cheery faces stamped onto whatever locale we choose as background. They are certainly recordings of us, but seldom much more. Portraiture, as painters came to use the word, is intended to penetrate, to comment, to reveal. Selfies testify that we were here: self-portraits attempt to explain why it matters.
Taking one’s image is not merely about putting up an endless string of publicity releases to reaffirm to the world that we’re still happy, healthy and young. It shouldn’t merely be the latest opportunity to display our most practiced social masks. That’s not revelation: that’s camouflage.
I’m no less vain than the next person. I would love every photograph taken of me, by myself or others, to be flattering. But the photographer in me insists upon more: I need also to make images that show me as uncertain, bloated, fearful, tentative, even alienated from my own internal idea of how I appear outwardly. Moreover, I need to monitor the distance between that surface and what I feel, or, in the words of the old Steve Winwood song, when I am but a stranger to myself. No brave face, no “smile for the camera” can do that.
I’m not comfortable with image you see here. I chose selective focus and monochrome for it because I feel that way at present, just as my expression is one of someone in a transition, and a rather awkward one at that. I don’t mind grinning for a snapshot, certainly. But a portrait should intend something different. And it’s okay if, on any given day, I don’t feel like pretending that life has is one big endless party. We are all the world’s foremost authorities on who we genuinely are. Our photography should endeavor to give testimony to that truth.
By MICHAEL PERKINS
PHOTOGRAPHING CROWDS IS SOMEWHAT AKIN to using one’s camera to track a billowing cloud of soap suds. The shape of the mass shifts constantly, roiling this way and that, presenting the shooter with an ever-evolving range of choices. Is this the shape that delivers the story? Or does this arrangement of shapes do it?
And is just the size of the overall crowd the main visual message….with the perfect picture merely showing a giant jumble of bodies? Plenty of great images have been made that convey a narrative with just mass or scale. But throngs are also collections of individuals. Can’t a compelling tale also be told focusing on the particular?
When shooting any large gathering, be it a festival, a party or a demonstration, I am torn between the spectacle of the “cast of thousands” type shot and the tinier stories to be had at the personal level. In the shot seen below, I was following a parade, actually behind the traditional approach to such an event. What arrested my attention from this vantage point was the printed shawl of the woman directly ahead of me. The graphic on the shawl had been seen on other flags and banners in the march, but, billowing in the breeze on her back, the print became a kind of uniform for the march… a theme, a face all its own.
In this context, I didn’t need to see the actual expressions of the marchers: there was enough information in their body language, especially if I composed to place the woman at the center of the shot, as if she were the leader. That was enough. The actual march boasted thousands, but I didn’t need to show them all. The essence of everyone’s intentions could be shown by the assemblage of small parts.
Some crowd photographs speak loudly by showing the sheer volume of participants on hand. Others show us the special energies of individuals. Neither approach is universally sufficient, and you’ll have to see which is better for the narrative you’re trying to relate in a particular moment.
By MICHAEL PERKINS
SOME MEMORIES ARE BURIED SO DEEPLY in our mental archives that, like old snapshots, they deteriorate, browning along the edges, retrieved only in imprecise or incomplete detail. Ironically, these mainstays of our very personhood evolve over time from fact into folklore, rendering fundamental, formative events unreliable, suspect.
And if one’s personal memory of a time or place is less than “actual”, what about photographs of the places where those imperfect memories were forged? How can camera images of battlefields, home towns, even one’s childhood home record anything real beyond physical dimensions?
The park in the above picture first entered my consciousness in the late 1950’s, when my mother had medical appointments a block away and my father walked me around the perimeter of the pond to kill time while she lingered in the waiting room. I recall very specific things about tile mosaics of fish set in the concrete walkways around the water, and a few flashing impressions of a nearby cafe which no longer exists, but that’s pretty much the sum total of my memories of the place.
So, as a photographer in 2017, how do I even attempt to make a visual document of this locale? Any specifics of my own experiences here have been smeared and sandpapered until they only represent a part of a part of the real story. Shouldn’t I, in fact, sort of “free-associate” the scene, assuming that any fresh impressions are at least as trustworthy as my moth-eaten memories of it? Since I can’t reasonably capture a faded dream, isn’t the dream realm where I should draw for the missing pieces?
We only suppose that a camera, which at one level is a mere recording instrument, will act as an objective reporter on the current sites of our old adventures. But that’s the problem. It can only take measure of things as they are, not the unique mix of fact and fable that passes for experience in our imperfect minds. And so we frown at the results and mutter, “it’s not like it was…”
The reply to which should be: how would we know?
By MICHAEL PERKINS
IN A PARTICULARLY CHILLING SCENE from the classic film The Third Man, Orson Welles, as the story’s amoral profiteer Harry Lime, looks down from a carnival ride to the teeming, tiny throngs on the pavement below, distancing himself from people that have been reduced, in his mind, to mere ‘dots’. ” Tell me”, he asks his friend Holly Martens, “would you really feel any pity if one of those dots stopped moving forever?” Lime has, in fact, been selling tainted medicine to desperate refugees in post-war Berlin, and his product does, almost certainly, make several of those dots stop moving. Forever. Horrible, and yet his estrangement from his fellow wanderers on that sidewalk occurs all the time in all our minds. When we look more carefully, more compassionately, however, photographs can happen.
We are all nomads, wanderers, dots on a map. We convince ourselves that our journey is surely taking us toward something….a very important something. As for everyone else….what? Like Harry Lime, we place great emphasis on our own story, with ourselves cast as the hero. In fact, though, pulling one’s eye just far enough back from the throng can show our camera’s eye the real story. Every journey, every destination is equal….equally vital or equally banal. It’s the process of observing that seeking that creates a tableau, a composition. That, and how we view it.
I take a lot of images of crowds in motion: streaming in and out of buildings, rushing for trains, teeming through malls, crowding the subway. What they’re after isn’t what gives them the drama. It’s the continuous process of seeking, of going toward all our collective somewheres, that provides the narrative. I don’t try to record faces: these are moving chess boards, not portraits. Additional clinical distance can come from the use of monochrome, or angle of view. Sometimes I think of the overhead camera shots of director Busby Berkeley, he of the kaleidoscopic dance routines in 42nd Street and other ’30’s musicals. The rush of the crowd is all a kind of choreography, intentional and random at the same time.
One of the images that brought this idea home to me as a child was a cartoon James Thurber drew for the New Yorker titled “Destinations”(above left). It shows, simply, a rightward mob rushing toward a leftward mob, with a cemetery in the background. Everyone is headed for the same end point but all act as if they are bound for someplace else. The story for a photographer in all this wandering lies in how we look as we do it. Where we eventually wind up may well be fate’s whim, but the story of all the comings and the goings, of ourselves and our fellow nomads, is in the hands of the camera.
By MICHAEL PERKINS
NO TWO ARTISTS view the human condition of solitude in quite the same way. In photography, there are scores of shades between alone and lonely, between the peace of private reflection and the terror of banishment, shades which define their images as everything from comforting to terrifying. Thoreau hangs out solo in the woods and finds fulfillment. Hansel and Gretel, stranded in the forest, feel only dread.
The argument might be made that modern society at large fears solitude, that there is nothing more horrific than being alone left with one’s self. And, if that is your viewpoint, then that will eventually be reflected in how you depict people in isolation. Conversely, if you see “being apart” as an opportunity for self-discovery, then your photographs will show that, as well. You can’t “sit out” commenting on a fundamental part of the human condition. Some part of your own outlook will be stamped onto your photography.
That’s not to say that you can’t shade your “alone” work with layers of mystery, even some playfulness. Is the young woman shown here glad to be away from the crowd, or does she feel banished? Is her physical attitude one of relaxation or despair? The photographer need not spell everything out in bold strokes, and can even conspire to trick or confound the viewer as to his true feelings.
To make things even trickier, images can also convey the feeling of being alone in a crowd, lonely in a crushing multitude. That’s when the pictures get really complicated. With any luck, that is.
By MICHAEL PERKINS
ONE OF THE EXQUISITE PLEASURES usually denied to even the best portrait photographers is the ability to turn back the clock, to use the camera to x-ray one’s way past a subject’s accumulated life layers, peering into the “them” that was. It’s not really that it’s impossible to retrieve part of a person’s yester-faces. It’s that it’s maddingly elusive, like getting a brief glimpse of a lighthouse beacon amidst billows of pea-soup fog. We have to take faces, for the most part, at, well, face value.
Case in point: meeting my wife, as I did, long after we both had lived fairly complete first lives, I can only know the early visual version of her through other people’s pictures. It allows me to look for parts of those earlier faces whenever I make new images of her, but I can never know when any of them will flash up to the surface. It does happen, but there’s no way to summon it at will.
Marian grew up in a beach town, with the seasons and rhythms of shore life defining her own to a degree. As a consequence, I always welcome the chance to shoot her near the sea….along beaches, atop windswept piers, weaving her way through the sights and sounds of boardwalks and harbors.
Of course, restoring Marian to her original context, by itself, is no guarantee that I’ll harvest any greater photographic truth about her face’s formative years than I do on any other day. Still, I find the idea romantic and brimming with tantalizing potential. Will I be given an audience with the ghosts of Marian past today? Will they even show up? The mystery of faces leads photographers on a blind chase, with only the occasional find to convince us to continue the hunt.