REDEMPTION, ONE FRAME AT A TIME
Vigil Variety, 2010. 1/320 sec., f/8, ISO 200, 50mm.
By MICHAEL PERKINS
AS YOU READ THIS, I AM AVAILING MYSELF OF ONE OF THE MOST SPLENDID BENEFITS KNOWN TO A PHOTOGRAPHER: THE DO-OVER. Ahhh. Feels good just saying it. Do-over; the artistic equivalent of doing penance, of setting things right. Returning to the locales of your earlier misbegotten attempts at a subject, with just the chance that you’ve learned a few new tricks since your last try.
Redemption.
Maybe it’s just that possibility which thrills….that, and the hope of exorcising those little demons which jab you with pitchforks every time you look at shots from bygone outings. In my case, I’m trying to banish the Ghosts Of New Mexico Trips Past. It’s my third trip to the regions between Alberquerque and Abiquiu, which includes Santa Fe. It’s an odd mix of terrain, economic strata, art, superstition, spectacular vistas and harsh romance. Anything you want to shoot is there to be seen, some of it invisible and needing to be brought froth for the naked eye.
Sisters, 2010. 1/320 sec., f/8, ISO 200. 50mm.
It’s not hard to see why painter Georgia O’Keeffe, banishing herself from the concrete canyons of Manhattan, decided to stage her own do-over in this mysterious land in 1929. O’Keefe had been a photographer’s wife, and painters and photogs are often twin kids of different mothers, so I emotionally understand what she saw in New Mexico, but far more than I have been able to intellectually convey.
So far.
It’s been nearly a decade from my first visit to my third, so I now have a little backlog of what will and won’t work, maybe even an inkling of what I’m trying to show going forward. I didn’t come back from the first two trips empty-handed, but I didn’t come back with the motherlode, either. Since the only real barriers to most photo do-overs are geographic, i.e., the means to return to the scene of the crime, I am really blessed at being able to get another at-bat at this incredible place.
Two strikes, three balls.
I plan to swing for the fences.
Follow Michael Perkins on Twitter @MPnormaleye.
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GIFTS
Some things you work hard for. Some things fall right into your lap. Learn to be gracious and grateful for the happy accident. 1/125 sec., F/14, ISO 200, 50mm.
SOMETIMES YOU CAN BECOME SO FIXATED on the shot you think you want that the shot you could have can’t squeeze through the mental haze. You might even regard an element that has the potential to actually save your image as an annoyance, as if it’s blocking the view of your sacred “plan”. The alternate idea buzzes around your skull like some stubborn house fly, and you’re eager to bat it away and get back to your grand vision.
A while back, such an element was fighting to get my attention. It was the very thing my picture needed…and the very last thing I wanted. I wish I could say I came to my senses, but it was actually only after I viewed a burst of shots, after the fact, that I fully realized I had been given a gift.
The above scene, a small rustic graveyard, can be found in a mountainous village near the greater Santa Fe area in New Mexico. The location pulled me off the road with its breathtaking setting, as well as the many hand-crafted monuments scattered among the more traditional headstones. I was thinking: nice, self-contained scenic shot, lots of local flavor, warmer-than-normal desert light, just point and click, right? Simple.
Simple, that is, until our friend here showed up. Immediately I regarded him as noise, as an interruption of my “ideal” shot. Never mind the folly of thinking that there is only one way to approach a subject: I was muttering a few silent oaths even as I continued to click and track him as he crossed the graveyard. When was he going to get out of the way, so I could back to my master plan?
Idiot.
I kept everything I shot, figuring that I might have accidentally gotten my wonderful empty scenic before my visitor came along. Instead, at full-size review later, I came back again and again to look at him. His slim solitary form, his simple dress, his two plain flowers, and his downcast gaze all lent a story to what had been a simple, if nice, still life. In giving that sad little field some badly needed human context, his presence proved that it was he who belonged there. If there was an intruder in this drama, it was me. I was just there to take pictures of his life.
He was busy living it.
I frequently find that if I just turn my mind off and stop obsessing about my “vision”, many settings yield something stronger and more elequent than my original design. Think of it as being a sketch artist who keeps his options open by laying in as many pencil lines as you can before inking the final choice. Most importantly, you must trust and be thankful for the occasional gift.
Thoughts?
thenormaleye 