By MICHAEL PERKINS
AS THE MOST PHOTO-DOCUMENTED EVENT IN HUMAN HISTORY, the attacks of September 11, 2001 have spawned images that can never be unseen. Images that tear at you, slam you in the back of the head, wring tears and rage from you, stun you mute.
As the keeper and curator of many of the most powerful of these images, the 9/11 Memorial Museum in lower Manhattan has achieved a tough but fair balance of emotion and academia. Given the staggering number of people whose personal stake in this space covers every human motive and perspective, the making of this part-exhibit-part-shrine may have been one of the most thankless jobs imaginable.
And yet the job has been done, with eloquence and a spare, stark restraint that is poetic. Visiting the museum is no easy task. As Shakespeare said, if you have tears to shed, prepare to shed them now. But visit you should, and, yes, there is something that a camera can capture there without being crass or irreverent. The designers have seen to it.
Firstly, they have guaranteed that the main central exhibits of debris, personal documents, voice messages and news video are completely off-limits to any kind of photography. Walk in there, and you’ll know why. Those who accidentally caught this epic horror in the moment of its occurrence will never be equaled or surpassed by anyone taking a casual snap on a smartphone anyway, and trying to do so would be like setting off sparklers at a requiem mass.
No, the real photographic opportunities are in the dark, cavernous spaces under the surface of the street, dim caves that make you feel as if you yourself, are, for a moment, trapped, running out of light and time. The enormous foundation known as the slurry wall, which, in surviving the titanic forces of the towers’ collapse, kept the Hudson River from flooding all of lower Manhattan. The rusted girder that, like a day-glo-autographed tombstone, bears the signature of every working company of first responders that slaved away at Ground Zero, first as rescuers, next as salvagers, always as heroes.
It is here, in the quiet arrangement of these incredibly scaled spaces, that the 9/11 Memorial Museum becomes more spiritual than any hour you will ever pass in church. It is in these dark, harrowing parts of the hall that you fully sense what a slender thread we all hang from, and understand that light and darkness struggle for the same real estate, now as then.
By MICHAEL PERKINS
MANY OF US WHO BEGAN THEIR LOVE FOR PHOTOGRAPHY IN THE DAYS OF FILM have never really made a total switch to digital. It just never was necessary to make that drastic a “clean break” with the past. Far from it: through the tools and techniques that we utilized in the analog world, we still carry forth viewpoints and habits that act as foundations for the work we produce in pixels. Photography was not “re-invented” by digital in the way that transportation was when we moved from horse to car. It was refined, adding a new chapter, not an entire book.
Digital is merely the latest in a historical line of ever-evolving recording media, from daguerreotypes to salted paper to glass plates to roll film. The principles of what makes a good picture, plus or minus some philosophical fashion from time to time, have not changed. That means that tons of toys from the analog world still have years of life left in them, especially lenses.
Call it a “reverse hack” mentality, call it sentiment, but some shooters are reluctant to send all their various hunks of aged camera glass to the ashcan simply because they were originally paired with analog bodies. Photography is expensive enough without having to start from scratch with all-new components every time a hot new product hits the market, and many of us look for workarounds that involve giving a second life to old lenses. New wine from old bottles.
Some product lines actually engineer backwards-compatibility into their lenses. Nikon was the first and best company to spearhead this particular brain flash, making lenses for over forty years that can be pressed into service with the latest Nikon body off the production line. In my own case, I have finally landed a Nikon 24mm f/2.8 prime, not from current catalogues, but from the happy land of Refurbia. It’s a 1970’s-era gem that is sharp, simple, and mine-all-mine, for a fifth of the cost of the latest version of the same optic.
My new/old 24 gives me a wide-angle that’s a full stop more light-thirsty than the most current kit lenses in that focal length, and is also small, light, and quick, even as a manual focus lens. And it can be argued that the build quality is better as well. Photography is about results, not hardware, so how you get to the finish line is your business. And yet, sometimes, I must admit that shooting new pictures with legendary lenses feels like photography, as an art, is building on, and not erasing, history.