By MICHAEL PERKINS
IF YOU REALLY THINK YOU KNOW ANYTHING ABOUT PHOTOGRAPHY, take a moment to consider what you typically shoot. After all, there comes a point, with practice and experience, at which you will get pretty good at making pictures of the things you’re used to making pictures of. Shoot enough skyscrapers and you can eventually become The Skyscraper Guy. But then, in the pursuit of humility, start making 100% of your shots of something about which you know next to nothing. Better still, shoot things that seldom, if ever, pique your interest….and then see how you do.
I am on record in these pages as admitting that I am always playing defense when it comes to nature work. It’s not my first interest, and it’s far from my comfort zone. However, I do derive enjoyment from the thought that I might ,at some point, have a chance of getting better at it. That’s not the same as actually getting better at it, but…..
Over the last five years, I’ve begun to dip my toe into work with birds, mostly because it allows me and my birder mate to do more things together. However, on many expeditions in search of the Rump-Roasted Titbill or the Green-Throated Flipwing I am as likely to shoot the surrounding wildlife as I am the official quarry, simply because I know, at some level, that my success with birds is random and unpredictable. In short, I may actually have the wrong personality to be good at capturing the little darlings.
First of all, I only possess the cardinal (sorry) virtue of patience in limited supply. That’s not helpful, since, as I hinted at the start, shooting outside your comfort zone will instantaneously reverse-morph you back to the clueless twelve-year-old you were when you first picked up a camera. And yes, bird photography is that different, in that it has many exclusive techniques that no other kind of photography will completely prepare you for. And then there is the expense. Basic cameras will occasionally (underscore that word) bring you good results, but the precision required for the best bird work, the “ahh”-inducing shots, can only be had for money. A good deal of it. It’s just a fact that we’ll never know how many of us would have become excellent bird photographers simply because many cannot afford the gear necessary to produce the best results. That’s not sour grapes, no more than it is whiny to say that I can’t explore the surface of the moon with a $100 pair of binoculars.
So what’s to do? Well, decent pictures can be made with modest equipment, but the work will be harder, and the accumulation of skill will be exponentially slower. The bird shots that I truly like come from approaching birds as I might a human subject, that is, by observing behavior long enough to get a sense of the bird as a “person” the way I might with a portrait subject. The more time I spend with an individual bird, the more I convince myself that I am locked into his thoughts or reactions. Of course, I could just be crazed with the heat (always wear a hat), but that mindset just barely gives me the courage to try something I will likely not do very well for some time to come. Humility, on the wing. Cool.
Now, can I go take a picture of a skyscraper?
By MICHAEL PERKINS
PHOTOGRAPHY IS ART’S GREATEST “DEMOCRATIZER“, a medium that levels the playing field for creative minds as no other medium can. “Everyone gets a shot”, goes the old saying, and, today, more than ever, the generation of images is so available, so cost-effective that almost anyone can play.
Yes, I said almost. Because even as cameras become so integrated into our devices and lives as to be nearly invisible, there is at least one big stump in the road, one major barrier to truly universal access to image-making. That barrier is defined by distance and science.
For those longing to bring the entire world ever closer, zoom lenses and the optics they require still slam a huge NO ADMITTANCE door in front of many shooters, simply because their cost remains beyond the reach of too many photographers. Lenses going beyond around 300mm simply price users out of the market, and so keep their work confined in a way that the work of the rich isn’t.
Look at the metadata listed in the average “year’s best” or “blue ribbon” competitions in National Geographic, Audubon, Black & White, or a score of other photo magazines. Look specifically at the zoom ranges for the best photos of birds, insects and general wildlife. The greatest praise is heaped on images taken with 400, 600, 800mm glass, and rightfully so, as they are often stunning. But the fiscal wall between these superb optics and users of limited funds means that many of those users cannot take those images, and thus cannot compete or contribute in the same way as those who can afford them. For an art that purports to welcome all comers, this is wrong.
The owl image at the top of this post fell into my lap recently, and I was able to take advantage of this handsome fellow’s atypical appearance at a public place with the help of a 300mm lens. But that’s only because (A) he was still only about forty feet away from me, and (B) he is as big as a holiday ham. If he and I had truly been “out in the wild”, he would have been able to effectively enforce his own no pictures today policy, as I would have been optically outflanked. Two options would thus emerge: drop thousands for the next biggest hunk of glass, or take pictures of something else.
I am for anyone being able to take any kind of picture, anywhere, with nothing to limit them except their vision and imagination. Unfortunately, we will need a revolution on the high end of photography, such as that which has happened on the entry level, to make the democracy of the medium universal and complete. We need an “everyman” solution in the spirit of the Kodak, the Polaroid, and the iPhone.
The world of imaging should never be subdivided into haves and have-nots.
follow Michael Perkins on Twitter @mpnormaleye.