By MICHAEL PERKINS
(AS YOU READ THIS, I, along with most inwardly inclined photographers, am spending the final days of the present calendar year trying to make some sense of whatever images I’ve attempted over the past twelve months. But I’m only partly interested in compiling so-called “best of” lists, since it’s really up to other eyes to decide whether any one group of my pictures can collectively be called successful. Simply, I can’t really judge how well I’ve done. Not alone, anyway.)
What I try to do instead is to determine if pictures from a given year arced or tended in a particular direction. One thing I have noticed about my work is that it seems to fall, generally, into subject years and light years……groups of shots that are either centered on what I shoot or the conditions under which I do so. 2018 seemed far and away to be about making compositions of light rather than capturing locales.
In more than a few photographs over the past year, I almost seemed to be dragging brighter surfaces out of solid darkness…..but only just enough to make a few details register, leaving significant portions of the finished image lingering in shadow….deliberately under-defined. I have always liked this chiaroscuro, or “Rembrandt” light effect, but this year, I seemed to be aggressively embracing it.
The shot seen here, then, is not meant to explain the building I was shooting, but to reduce it to a pure instance of color, light and design. In a different situation, the picture might have been more reportorial, but in this case, the arrangement of line and pattern was the entire goal of the photo. So, at the end of 2018, no photographic “greatest hits” list for me, just a trend line showing that my curiosity is tracking in a certain measurable direction. Photography is just as much about attempts as it is about achievements. At different junctures, we value one over the other.