By MICHAEL PERKINS
FIRST OFF, LET’S AGREE ON ONE THING: photographs are not “the truth”. Well, at least not what we think we mean by truth. Maybe we use the “reality” of a captured image as a mere point of departure, the place we start off from, on the way to…well, that’s up to the artist, innit? What I’m trying to say here is that merely snapping a picture doesn’t mean that you’ve told the absolute truth about what your lens was pointing toward. Only the bones of truth…a structure on which to drape the rest, through interpretation, and the shared experience of inviting other eyes into the discussion.
Some of our inherited thinking about the veracity of a photo (“the camera doesn’t lie”) is that it is produced by a machine, a device inserted between our vision and the finished product, a mechanism that we associate with reproduction. After all the device measures light; it is indifferent, just as a seismograph or a lie detector would be. Only it isn’t. We humans are interacting with that “recording” function at every turn, just as personally as the painter measures and controls strokes of a brush. And then there’s the consideration of time. We don’t capture all of life in our box, just a stolen sliver of it, which guarantees that the sample, having been yanked out of its original context, is tainted from the start.
Even the best picture, then, comes out compromised, depending on how it was taken, and by whom. Clicking a shutter may be a means of producing something thought provoking, even profound, but it is nothing as simple as capturing the truth. As illustration: it’s easy to identify all the contributing elements of the above image….light, shadow, color, water textures, solid objects…but it was only possible to combine them all into the result you see here for a single moment. Someone else, working with the very same elements just a second later, would likely produce vastly different results. And yet, both of us are “right”.
Thinking of photographs as truth is tricky business. Consider this quote from photographer Giles Duley, who has garnered some distinction of late as what I call a camera-oriented journalist:
“I don’t believe there’s such a thing as ‘truth’ in photography. As soon as I walk in a room and point a camera at you, I’ve already ruled out the rest of the people. As soon as I press the shutter on that second, I’ve ruled out the rest of the day. There is only honesty….”
A photograph is something used to illustrate a point of view. It’s not the only point of view to be had, and so it can’t be the absolute “truth” for everyone. But that’s the beauty of it, the fascinatingly infinite variety of “my truths” to be had in the artistic realm. This is not science. Science is different. You can’t present your “version” of gravity, or photosynthesis, or the speed of light. They just are. Art happens in the realm of “might be” or “could be”, and our photographs are, at their best, suppositions, suggestions. This picture might be true, and it might not, and so let the debate begin. And that is what makes the creation of image an art. Because it’s yours, and, with luck, it might be ours, and the dialogue that decides that is, well, everything.
By MICHAEL PERKINS
PHOTOGRAPHIC STYLE IS REFLECTIVE of the human aging process. You often make pictures differently in different phases of your life. Many of my favorite shooters have, over their careers, evolved on two parallel tracks, both toward simplicity. That is to say that their picture-taking process, i.e., equipment and gear, becomes more streamlined as they age, even as their approach to composition becomes simpler. In every way possible, the best photographers tend to learn, over time, how to do more and more with less and less.
Going into battle with a single camera that’ll do 98% of what you need in any situation is highly desirable, but it takes time to learn how to do that, to resist the temptation to carry every gizmo under heaven on your shoulder at once. But the struggle is worth it; knowing every single feature and quirk of a camera that’s ergonomically solid and functionally streamlined allows you to work fast and instinctively. As for composition, I found that, at least for me, I had to either learn to simplify or just give up on things like landscape work, where everything I shot was crammed with clouds, trees, trickling streams, flocks of birds, and, who knows, the Barnum & Bailey circus. I was making picture after picture where, if the human eye was asking, “where do I look?” my answer was likely to be, “It’s a smorgasbord! Pick anything!” The truth was that I had to go simpler as I aged if I was ever to be effective at all in conveying visual ideas.
Twenty years ago, this image would have taken up twice the area you see here, because, even today, its master frame included, along with the barn and stable, a side building, some empty blue sky, and a few small piles of farm implements….enough distractive information for five pictures. Zeroing out all the color and cropping to keep the entire picture to a basic series of rectangles and triangles (plus their multiplied shadows) turned out much better; all I had to do was develop the courage to cut, decisively, in search of a less cluttered picture. I only select this example because it’s a very clear illustration of the process that I now go through for composing nearly every shot, in that I try to pre-visualize how little information I need to convey my concept. Yes, how little.
This is an ongoing struggle for any photographer, because it’s easy and alluring to do more of everything…more stuff to carry, more stuff to cram in the frame, more things to draw energy away from your primary vision. I am nowhere near where I need to be in this journey, but I can track a little progress, and, amidst all the distractions of, well, living, that’s at least something.
(FIAT LUX, Michael Perkins’ latest collection of images, is now available from NormalEye Books.)
By MICHAEL PERKINS
PRIOR TO AROUND 1920, photographs of objects were generally naturalistic recordings of objects as they were popularly perceived in the actual world. Apples were shot to resemble apples, trees to emulate trees, and so forth. Techniques that had served photography in the nineteenth century, which favored the same objective rendering of things in the same way that painters did, persisted until generally after the First World War, after which both camps began to question whether reality was, indeed, the only way to portray the world. Some shooters began to veer away from any painterly softness or interpretation, declaring focal sharpness and documentary truth over the dreamy qualities of the canvas. Others, however, took another page from paint’s playbook, opting to see compositions as arrangements of light or shapes, and nothing more. Everyday objects were filtered through a new way of seeing, and the ordinary was drastically reconsidered beyond the act of mere recording. Photographers began to also be interpreters.
One of the most stunning examples of this new freedom were Edward Weston’s “pepper” images of the 1920’s, a series that re-envisioned vegetables as new somethings that were reminiscent of abstract nudes. Weston’s monochromes were, first and foremost, compositions of line, absent the context that the normal world typically afforded. Suddenly, shapes were absolute: the photograph didn’t have to be about anything: it merely was, in much the same way that modernist paintings re-framed the way people saw faces, bodies, architecture. Some were shocked, even frightened by the newfound freedom Weston and others were championing, while others felt liberated. As ever, the best photographs sparked the best arguments.
I was reminded recently what a simple revolution can be created by such a minor warping of the visual sense when I unpacked a pepper that I felt could have escaped from Weston’s own garden. The gnarly thing seemed, even before my memory had made a connection back to his work, like a ripe, red set of lips, something between the cartoon kiss of a Jessica Rabbit and the Rolling Stones’ lascivious logo. The curviness of the pepper proved too seductive for me to just start immediately carving it up for salad, so I attached a macro lens and started to take a tour around the thing. At one angle, the vegetable almost looked like a mouth in profile, but with perhaps the faintest suggestion of an overall crimson face as well. The entire exercise took about three minutes, after which the pepper dutifully kept its prior appointment with my homemade balsamic dressing. The one fun takeaway was reminding myself that, no offense to reality, but it’s fancy that makes photographs.
Just think what kind of portrait I could make from a rutabaga with attitude.
By MICHAEL PERKINS
PHOTOGRAPHY AT ITS MOST EFFECTIVE, is a pure and wordless kind of storytelling, virtually limitless and astoundingly efficient. Using a visual shorthand, that is, the static image stolen in an instant, we can suggest any narrative, past, present or future. Our tales not only feed off the storyteller’s intent but also off of what the viewer interprets. We can make anything mean anything. If stories are a constantly moving parade, we determine where the “hop on” and “hop off” points in it will be.
We do this by controlling the frame.
We make very intentional choices in a photographic frame. What is included is vital, but so is what is deliberately excluded, since both choices spark the imagination. We are, in effect, having a conversation, a debate over those choices with our audiences. Why did we show this and not that? Is this thing important because it naturally occurred in the picture, or am I making it important because I placed it there? And what do I think about what the photographer decided to leave out?
As the aforementioned parade of existence passes, the photographer’s hop-on point for the eye can supply context, showing connection between one thing and another…..or it can editorially destroy context, forcing us to see a thing in isolation, on its own terms. Consider, for a moment, the….. thing in the above image. Where did I get it? What was its purpose versus other things in its “world”? Can you, the viewer, assign it a new association that, for you, works just as well as the original?
All this discussion, all this interpretation, all these individual conceptions of what a thing “is”…all abetted by assembling the frame and than adding and subtracting within it. We talk a lot in these pages about the various sciences of photographic measurement…..exposure, light, apertures…. but I think composition outranks them all. Sure, know how to harness the tools that will help you record your message. But first, figure out what the hell you’re talking about.
And where you want your passengers to hop on.
By MICHAEL PERKINS
SOME THINGS CANNOT BE MADE VISUALLY COHERENT merely by pointing a camera at them. That is, all subjects won’t give up their secrets to the mere act of photographic recording. And that’s when mere documentation must give way to interpretation.
A case study……
There is probably no denser concentration of immersive marketing on earth than in the yawning canyons of New York City’s Times Square, a cacophonous minefield of flashing, spinning, exploding LED overload. Messages aren’t simply or singly sent or received here: rather, they elbow past each other by the hundreds, desperately contending for the viewer’s attention in microbursts of insane color and absurd scale, in what actually amounts to the dead opposite of communication. Billboards, marquees and crass chunks of street theatre, from ersatz Miss Liberties to pose-with-me Batmen, all scream and stream at once, sending the senses careening from sensation to sensation like pinballs on ampthetamines. The irony: nobody wins the race: messages all eventually fail to register, cascading in a blur like a flipped deck of cards.
This is why, for a Times Square-type subject , “straight” photography is doomed to disappoint. It’s just not enough to convey the feeling of fragmentation created by the site’s sensory bombardment. Merely freezing the action with one’s camera is an attempt to “make sense” of a reality that is, by definition, non-sensical. We don’t need to slow things down so they’re recognizable…..quite the opposite. We need instead to capture and comment on the confusion in a visual language we ourselves improvise.
In my own case, I try to further amp up the broken, shattered quality of the information that meets the eye by breaking pieces of data into even smaller pieces….a kind of double-reverse chaos. In the image seen here, I’ve turned away from a bright cluster of signs on one side of the street to shoot their reflections in a split-panel office window, forcing all the messaging from the signs into splintered abstractions, some of which come from shadows within the office itself.
This is, of course, just an example and not in any way a universal template. The precise method for creating a distortion of an already distorted reality isn’t paramount, but what I don’t want is a literal representation of these streets. Reality is in short supply in the Times Squares and Tokyos of the world. Photographers intent on commenting on that condition have to stay one step ahead, to find the double reverse chaos lurking within.
By MICHAEL PERKINS
AS AN OBSESSIVE CHILD, I became crazed with the drawing of short animations on pads of paper known as “flip books.” You know the drill. Draw a picture on the top sheet, turn the page, draw another picture with a small change in position, and repeat several dozen times until you produce a brief cartoon by flipping the entire pad from the front to the back. I actually got pretty good at it, if, by “good” you mean manically addicted to perfection and insanely fixated on detail. I could make three seconds of cinematic grandeur. I just couldn’t do it fast.
Meanwhile, on the other side of the playroom, my sister and her partner, my cousin Mark, had so such problem. While I would spend the better part of a week sweating over the laws of locomotion for such classics as The Mummy Goes Mad or Spider–Man vs The Vulture, Liz and Mark cranked out ten titles a day, crude stick-figure blackouts created in ten-minute surges of creative hysteria, all ending with the unfortunate (and unnamed) hero exploding, then emitting a dialogue balloon with the single, sad existential word “WHY??” While I was doing DeMille parting the Red Sea, they were doing Mack Sennett one-reel wonders, heavy on the pie fights. Fact is, I found their stuff gut-achingly hilarious. There was no disputing which of the two “studios” better understood the entertainment biz.
Lizzie and Mark’s stick figures moved every bit as well as my fully-rendered players, but their impact was more immediate. Their drawings didn’t have even a single line that wasn’t absolutely essential to their narratives. I thought of all this recently when working with some distant crowds which were reduced to mere silhouettes in a deep telephoto of the coastline at California’s Morro Bay. As components in a larger composition, they were just markers, measures of linear space. Shooting even closer might have revealed their hair color, lines on their faces or the shine of water on their wet suits, but to what benefit for the overall effectiveness of the picture?
There are many forms of visual shorthand in the making of a photograph, and they can be effective in speeding the journey from the viewer’s eye to his heart. We might think of photography as the complete recording of detail, a piece-for-piece re-play of reality, just as I thought I had to draw every single web line on Spider-Man’s head. However, the most eloquent images often speak louder by using fewer words.
Sometimes, a stick figure is exactly what you need, and no more.
By MICHAEL PERKINS
SOMETIMES I THINK THAT PHOTOGRAPHERS, especially beginners, needlessly hem themselves in by “pre-editing” their work. Being human, we all care, to some degree, about how our images “play” to various viewers, and so it’s understandable that we can be scared away from attempting certain things that are too jarring or disorienting to our intended audiences. We work to hard to avoid the attachment of certain labels to our pictures.
The “a” word, “abstract”, is one such label. It’s a scare word. And it can spook us out of truly innovative image-making.
Sure, we may know that, strictly speaking, abstraction really just means extraction, pulling a visual shorthand of essence out of a more complex subject. Rather than merely recording the full detail of an object in a photograph, the abstract photographer reduces it to its most effective basics. A baseball loses its stitches and writing and becomes just a sphere. Abstraction can also yank something out of its familiar context, forcing the viewer to regard it on its own merits, so that an entire salad is reduced to the sensual curvature of one section of a single vegetable.
Okay, so that’s what we know about abstraction. However, what we feel, even about just the word, can cow us into conformity. We fear being called “artsy”, avant-grade, pretentious. And we gradually adjust our images to reflect what others regard as “real”. It’s tough: learning to trust your own vision is the single hardest lesson in any art. But what’s the alternative? Cranking out the same systematic execution of a flower for the next forty years just to curry favor with the mob?
If you observe an orchid (like the one above), and see, not merely a flower, but a winged creature taking flight, why not take the extra step and reclaim the “realness” of that object for your own purpose? The camera is an interpretative tool, not a video recorder.
Anytime we are tempted to restrict our pictures to what the world at large regards as “real”, we should listen for abstraction’s quiet but persistent question. “Real” according to whom?
By MICHAEL PERKINS
IN EARLIER OUTINGS, WE HAVE DISCUSSED THE VALUE of knowing how sunlight enters your house at all times of the day. Knowing where bright spots and slatted beams hit the interior of your home in different hours gives you a complete map of “sweet spots” where natural light will temporarily isolate and flatter certain objects, giving you at least several optimized minutes for prime shooting each day.
Keeping this little time-table in your head allows you to move your subjects to those places in the house where, say, the daily 10 a.m. sun shaft through the family room window will give you a predictably golden glow. For me, that location is my living room window, across which the southwestern sun tracks east/west, and the object is my white baby grand piano.
Pianos, to me, are divinely complex gadgets, creations of the first great industrial age, their impossibly intricate mechanics offering thousands of possibilities for macro shots, fisheye explosions, abstract compositions, shadow studies, and delicate ballets of reflections as the morning sun dances across harp, strings, and hammers in an endless kaleidoscope of radiance. I have long since tracked how the sun showcases different parts of the piano as the day progresses, and how that corresponds to the instrument’s various sections and subsections.
Hard-wiring that schedule into my skull over the years means I know when a shot will work and when it won’t, making the object more than just something to shoot. It becomes, in effect, an active kind of photo laboratory, a way of teaching and re-teaching myself about the limits of both light and my own abilities. Better still, the innate intricacy of the piano as an object guarantees that I can never really get “done” with the project, or that something that was a mystery in January will become a revelation by June.
What gives this process a special lure to me is my endless effort to exploit natural light to the full, believing, as I do, that nearly every other less organic form of illumination is measurably poorer and less satisfactory than that which comes plentifully, and for free. The house I live in has thus become, over the years, a kind of greenhouse for the management of light, an active farm for harvesting the sun.
By MICHAEL PERKINS
FIFTY-PLUS YEARS INTO MY LOVE AFFAIR WITH PHOTOGRAPHY, I now regard my earliest concept of a “good picture” as I regard other ideas of my youth….that is, seeing how I viewed the world given the limited scope of my own experience. When I first started making my own pictures, my models were drawn from the pages of the then-dominant photo magazines, like Life, Look, and National Geographic. Thus, for me, “good” photographs served either the reportorial functions of a news assignment or the color-saturated visions of landscape lovers. And that, for me, back then, was more than enough.
Both these kinds of images favored a fairly literal translation from the actual into the photographed: interpretation and abstraction was not anything I gave serious thought to, since I wanted my simple box-camera creations to look like “real photographs”. Art photography certainly existed, but very much at the edges of the culture. Most museums, by the early 1960’s, had still not mounted their own photographic exhibitions. Most popular photography, shaped by a large middle-class consumer culture (think Kodak Instamatic), was candid and personal in nature. Most people wanted Grandma to look like Grandma, unfiltered through any Warholian irony, commentary or experimentation. It was still a compliment for someone to say of your pictures that they “looked like a photograph”.
Strangely, one of the things that revised my thinking on what was “good” was an increased awareness of the works of some of the first photographers, pioneers who sweated mightily to wrangle the infant media into something like reliable performance. In their work with ever-changing combinations of plates, media, lenses and emulsions, the first photogs’ breakthrough photographs often failed from a purely technical viewpoint, producing irregular patches of light appearing randomly like islands in a sea of shadows.
But what these wizards’ first attempts often achieved, almost by accident, was the first real abstraction in photography: pieces of reality, rather than its totality: hints of the truth which invited speculation, examination. New questions were posed: what was missing, and did it matter if it wasn’t there? Could a photographer, in fact, deliberately extract parts of the “whole” picture, letting the minimum speak for everything that was left out? I gradually began to wander in search of answers to these questions.
There are times when a picture speaks louder the less it says. My original orientation to “good” images, seeing them as the most faithful translation of the literal onto film, expanded gradually to include whatever visual language communicates best in a given picture. Sometimes, in some very key instances, it helps to think like the first practitioners, who discovered, however haphazardly, that mere reality sometimes comes up short.
By MICHAEL PERKINS
AS A BOY, THEODORE ROOSEVELT TAUGHT HIMSELF THE ANATOMY OF BIRDS that same way James Audubon did, by studying birds he himself had killed. Although this coldly clinical approach may strike us as cruel today, it was accepted practice for a young naturalist in the late 1800’s, a time when even eminent surgeons, faced with a shortfall of cadavers for academic study, occasionally hired freelancers to raid graves in search of, er, manpower. And so it goes.
At decidedly less risk, photographers have also made still-life studies of dead things, from game kills to seed pods, trying to appreciate structure, design, and function in a controlled environment. But there is more to their pokings than the grand advancement of science, given that death changes things in a way that transforms their aspect, altering their usefulness as visual subjects. Objects that have gone from living to non-living reflect light differently; textures and patterns are re-shaped; in short, the thing becomes an abstraction of itself.
Add magnification to the mix, and a thing becomes completely untethered from our usual conception of it, since, among other things, we are used to viewing it from a distance of feet or inches rather than millimeters. Just as where you stand affects the impact of a landscape, the place where you park a macro lens on an object dictates a completely different story with just the smallest variation.
There is a renewed fascination in the photographic world with minimalist abstraction, in which an object is changed so much in magnification and composition as to become a completely new thing, or…if the photographer so desires, a whole new nothing, a subject with which the viewer has no prior associations, functioning as pure pattern or design. For me, that’s the appeal of macro work…..to take the familiar and render it neutral in meaning, allowing me to re-assign it visually, to ask the viewer to, in effect, regard it as a foreign object, one that can take on whatever significance he sees fit.
Photography is primarily about what to see but it often provides cues as to how to see as well. Viewpoint is verification, and things impart different truths to our eyes, depending on how we approach them.
By MICHAEL PERKINS
IF YOU SPEND ENOUGH YEARS MAKING PICTURES, you will see, looking back over your shoulder, several visible mile markers indicating when something fundamental changed in how you went about the pursuit of the capture. It can be a simple time line from one camera or lens to the next, or a sequence of shifts in style or emphasis.
For some, it’s the leap from film to digital. For others, the moment when it seemed important to commit anew to monochrome, or the day when one’s work flow took on decidedly new features. For me, it’s always been those events or people who have allowed me to dramatically re-evaluate the process of seeing.
Poring over various things I attempted to do in 2016, I seem to be standing in a niche between how I have traditionally visualized subjects and how I’m aspiring to, marking a more dramatic evolution than I’ve experienced for a while. This change can be simply expressed as a different view of what’s “real” in a picture, brought on by my work with lenses that allowed focus to be more selectively manipulated within an image.
Some of this can be seen in images seen in the new page 20 for 16, clickable at the top of this one. Like other year-end summaries, it tries to cite examples of every type of photograph I attempted over the space of a year, from portraits to still lifes and everything in between. However, unlike most other years, the images have what I might call an evolving view of the role of sharpness; how it features in a composition, how much of it is essential, whether it is even needed at all, given the right conditions.
Some of these explorations in variable sharpness involved embracing a new crop of specialized lenses which either evoke the softer look of vintage glass or allow the shooter to place focus anywhere in the frame, and to any degree desired. However, at least one picture is the product of post-production apps applied to smart phone images, showing, if nothing else, that it’s probably the destination that matters more than the journey. Or not.
As an essential component in all photography, focus is a major determinant in that we think of as a “photograph”, and, in turn, what makes that photograph “real”. However, photography is not merely the recording of the actual but a visualization of the possible. It bridges the gap between tangible and potential. Merely unchaining sharpness, by itself, guarantees nothing in the way of order, and might merely produce chaos. Still, the moment when a particular choice can either enhance or enchant…. that’s we live for; that’s what we reach for.
Thank you again for your kind attention, your advice, and your enthusiasm….and Happy New Year.
By MICHAEL PERKINS
WHEN PHOTOGRAPHY IS PURELY REPORTORIAL, as it is in journalism or documentation, it sticks pretty close to the accepted state of the world. It tries to depict things plainly and without comment; it delineates and defines; it shows us the true dimensions of events.
But when the same technology is used interpretively, there is no absolute “real”, no pure authenticity, other than what we choose to show. It is in re-purposing the world visually, shaping and framing it as we choose, that we can confer meaning on it pretty much at our whim. That’s where the “art” part comes into what would otherwise be a merely technical measurement of light. We not only choose our subject….we set the conversation about it. Simply stated, what you shoot is about whatever you decide it’s about.
Even with hyper-familiar objects, things seen and re-seen to the point that they are iconic (think Empire State Building) images can re-set the way we take those objects in. And, in the case of what I like to call “found objects”, such as the image seen at the top, the photographer is completely unfettered. If your viewer’s eye has no prior mental association with something, you’re writing on a blank sheet of paper. You can completely dictate the terms of engagement, imbuing it with either clarity or mystery, simplicity or symbolism.
I have always been flat-out floored by photographs that take me on a journey. Those who can conjure such adventures are the true magicians of the craft. And that’s what I chose to play in this arena over a lifetime. Because, when photography liberates itself from mere reality, it soars like no other art.
By MICHAEL PERKINS
I’M A PHOTOGRAPHER, AND YET I CANNOT TELL YOU WHAT “REALITY” IS.
I point machines at the world and I get some kind of recording of light and shadow. Is what I get a literal translation of the way something, at least for an instant, really was? How did my composition, which necessarily had to leave out some things in order to include others, alter the complete truth of a scene? How did my selection of a lens, a time of day, the place where I stand, my own mood effect the outcome? And, if this machine, this recorder does not actually show “reality”, does that make me more of an artist, or less of a technician?
The world as we see it is never mere visual “evidence”. It comes to us filtered through every personal trait that shapes our ability to observe in the first place. Then we, in turn, filter that subjective experience into an even greater abstraction, shoving it through a lens that adds its own biases, limits, or flaws. So what comes out the other end? Should we even be worried that a photograph can’t be real? Might we not, in fact, be relieved to be freed from the constraints of the actual, just as painters and sculptors always have been?
The above image was taken by a person who stood in a particular place at a particular time with a specific piece of optical equipment and decided that the resulting balance of visual elements constituted a “picture”. That selection of a single part of a single moment will either convey a similar feeling to someone else, or it won’t. That’s what we uncertainly refer to as “art”, and, whether we like the terms of engagement, those “really” are the terms. Reality is beyond our reach.
But a commentary on it isn’t.
By MICHAEL PERKINS
FOR SOME, UTTERING THE WORD ABSTRACTION ALOUD is like saying bringing up politics at a family get-together, in that it forces people to take sides, or to account for their taste in front of others. And when you tie that scary word to art, specifically photography, people start to forget about making pictures, and begin wondering “what it all means”, or, worse, what an image is “supposed to be about”. We start making photos like regimented school children, all of us coloring the sun the same yellow and always drawing people with eyes in the same part of their face.
Instead of using the term abstraction to describe the idea of seeing something differently, I prefer the word extraction, as if we are pulling something different out of a subject. And it’s really not that academic. When we abstract/extract something, we are changing the relationship between the object and how we typically view it. Can showing just part of its shape register in our brains differently than viewing the entire thing? If I interpret it in monochrome versus color, can I re-shape the way you look at its positive (light) or negative (dark) space?
In abstracting/extracting, aren’t we really acting like designers, taking the familiar and rendering it unfamiliar to look at how it’s made and how we interact with it? Just as a designer might decide to create a different kind of teapot, can’t we take an existing teapot and change the way it impacts the eye? That’s all extraction is; one more way to shuffle the deck.
The object at the top of the page, a rare injection-molded plastic saxophone from the 1940’s, had already been “abstracted” by its designer, since we all have a traditional way of visually “knowing” that instrument. That is, it’s supposed to be brass-colored metal, curve in such-and-such a fashion, and feature ornamentation of a set type. Prominently, the designer re-ordered the sax’s features… in plastic, with browns and purples arranged in a fluid, stylized flow of elements. That means, that, as a photographer, I begin with my own set of expectations for the object already substantially challenged. Further, in photographing it, I can rotate the sax, compose it in the frame in an alternate fashion, reassign or intensify its colors, or, as in the small insert(which is a composite of a color negative, a monochrome negative, and a color positive), even change the relationship between surface and shadow.
There is a reason why even the police “abstract” a face into two interpretations, using both head-on and profile views in mug shots. Fact is, when you choose the viewpoint on an object, you change the interpretation of how the eye “learns” it. You extract something fresh from it . That’s the nature of photography, and scary words like “abstract” shouldn’t halt the ongoing conversation about what a picture is…or isn’t.
By MICHAEL PERKINS
SAY THE WORD “MINIMALISM” TO SOME PHOTOGRAPHERS, and you conjure visions of stark and spare compositions: random arrangements of light blobs, stray streaks of shadow, or scattered slivers of light, each conveying mood more than content. For some, these images are a kind of “pure” photography, while, for others, they are, to use a nice word, incoherent. Part of us always wants a picture to be, in some way, about something, and the word minimalism is charged, positively or negatively, depending on whether that “narrative thing” happens.
I actually associate minimalism with the formal storytelling process, but doing so with the fewest elements possible. It seems like a natural evolution to me, as I age, to make pictures talk louder with fewer parts. Simple cropping shows you how much more you can bring to an image by taking more of it away, and, with closeups and macro work, the message seems even clearer. Why show an entire machine when a cog carries the same impact? Why show everything when suggesting things, even leaving them out entirely, actually amps up the narrative power of a photograph?
Of course there are times when mere shape and shadow can be beautiful in themselves, and it doesn’t require a lot of windy theorizing to justify or rationalize that. Some things just are visually strong, even if they are non-objective. But minimalism based on our impressions or memory of very real objects, from a pocket watch to a piece of fruit, can allow us to tell a story with suggestions or highlights alone. If something is understood well enough, just showing a selectively framed slice of it, rather than the thing in its entirety, can be subtly effective and is worth exploring.
In the above image, you certainly understand the concept of a tape recorder well enough for me to excise the device’s chassis, controls, even half of its reel mechanism and still leave it “readable” as a tape recorder. You may find, upon looking at the picture, that I could have gone even farther in simplifying the story, and in your own work, you can almost certainly suggest vast ideas while using very small bits of visual information. Knowing the cultural cues and clues that we bring with us to the viewing process tells you how far you can stretch the concept.
By MICHAEL PERKINS
I REALIZE, MORE THAN EVER, THAT THE BULK OF MY OWN PHOTOGRAPHIC WORK has been an attempt to tell human stories while using remarkably few humans to convey them. I always seem not to have a true style at all, just a string of endless experiments that either add or detract from my overall skill set. And yet, if there is any “signature” in my work, it seems to be in using objects, or atmospheres, to illustrate what makes (or made) people feel. The everyday “sets” on which the actors of life play their parts. The oddest thing about my photographs is how many times, over a lifetime, the sets are allowed to speak for the actors, without the actors present.
I shoot empty rooms, but rooms where I feel the weight of years of bustling, traffic, conversations, meetings. I shoot solitary objects on tables, but objects that I imagined were touched, treasured, and otherwise served to measure daily life. I’m not adept at staging people as models or actors in images, but I try to react to settings, see people in them, and show their absence as a kind of presence through these things, these places.
It doesn’t always work. And, as you all have, I’m sure, I often worry about whether I’m off on the wrong track, lost, kidding myself. When a photograph connects with someone, I’m still surprised, even shocked. Street photography, which I greatly admire, is, for most, the act of seeing important bits of drama or tension between people. I take the visual measure of what they build, what they use, even what they abandon, and try to draw their portraits that way. The actual participants may, or may not, be part of those drawings.
Like I say, it doesn’t always work. What I may see as a moment of contemplation or a quiet narrative may strike others as cold, remote. I never mean it that way, since that’s not how I see the world. To my mind, you can either show a child opening a Christmas present, measuring his first flash of joy, or you can photograph the box and wrapping paper a moment later, after the toy has been removed and only the potential of the thing is left behind, like a latent fragrance.
I like trying to detect those fragrances, those lingering essences, the vapors of vanishing potential. Like Chief Dan George observes in Little Big Man, sometimes the magic works and sometimes it doesn’t.
But, oh, man, when it does……
By MICHAEL PERKINS
ANYONE WHO REGULARLY PHOTOGRAPHS GLASS SURFACES realizes that the process is a kind of shot-to-shot negotiation, depending on how you want the material to react and shape your subject. There is really no absolute “look” for glass, as it has the ability to both aid and block the view of anything it’s around, in front of, or near. Viewed in different conditions and angles, it can speed the impact of an image, or foil it outright.
I love shooting in urban environments, where the use of glass has shifted dramatically in recent decades. Buildings that were 90% brick or masonry just fifty years ago might be predominantly wrapped in glass today, demonstrably tilting the ratios of available light and also changing what I call the “see-through” factor…the amount of atmosphere outside a building can be observed from inside it. This presents opportunities galore of not only what can be shown but also how abstracted glass’ treatment of reflection can serve a composition.
Against the advice of many an online pundit, I keep circular polarizing filters permanently attached to the front of all my lenses so that I can modify reflections and enhance color richness at my whim. These same pundits claim that leaving the filter attached when it’s not “needed” will cost you up to two stops of light and degrade the overall image quality. I reject both these arguments based on my own experience. The filters only produce a true polarizing effect if they are either at the right viewing angle vis-a-vis the overhead sun, or if they are rotated to maximize the filtering effect. If they don’t meet either of these conditions, the filters produce no change whatever.
Even assuming that the filter might be costing you some light, if you’ve been shooting completely on manual for any amount of time, you can quickly compute any adjustments you’ll need without seriously cramping your style. Get yourself a nice fast lens capable of opening to f/1.8 or wider and you can even avoid jacking up your ISO and taking on more image noise. Buy prime lenses (only one focal length), like a 35mm, and you’ll also get better sharpness than a variable focal length lens like an 18-55mm, which are optically more complex and thus generally less crisp.
In the above image, which is a view through a glass vestibule in lower Manhattan, I wanted to incorporate the reflections of buildings behind me, see from side-to-side in the lobby to highlight selected internal features, and see details of the structures across the street from the front of the box, with all color values registering at just about the same degree of strength. A polarizer does this like nothing else. You just rotate the filter until the blend of tones works.
Some pictures are “about” the subject matter, while others are “about” what light does to that subject, according to the photographer’s vision. Polarizers are cheap and effective ways to tell your camera how much light to allow on a particular surface, giving you final say over what version of “reality” you prefer. And that’s where the fun begins.
By MICHAEL PERKINS
WE OFTEN WRITE IN THESE PAGES ABOUT PHOTOGRAPHY’S UNIQUE ABILITY to either reveal or conceal, and how we toggle between these two approaches, given the task at hand. Photographic images were originally recorded by using science to harness light, to increase its ability to illuminate life’s enveloping darkness, just as Edison did with the incandescent bulb. And in their attempt to master a completely new artistic medium, early photographers were constantly pushing that dark/light barrier, devising faster films and flash technology to show detail in the darkest, dimmest corners of life.
And when that battle was won, an amazing thing happened.
Photographers realized that completely escaping the dark also meant running away from mystery, from the subtlety of suggestion, from the unanswered questions residing within their pictures’ shadows. And from the earliest days of the 20th century, they began to selectively take away visual information, just as painters always had, teasing the imagination with what could not be seen.
City scenes which feature individual faces in crowds opt for the drama (or boredom) written in the face of the everyday man. Their scowls at the noonday rush. Their worry at the train station. Their motives. But for an urban photographer, sometimes using shadow to swallow up facial details means being free to arrange people as objects, revealing no more about their inner dreams and drives than any other prop in an overall composition. This can be fun to play with, as some of the most unknowable people can reside in images taken in bright, public spaces. We see them, but we can’t know them.
Experimenting with the show it/hide it balance between people and their surroundings takes our photography beyond mere documentation, which is the first part of the journey from taking pictures to making them. Once we move from simple recording into interpretation, all the chains are off, and our images can really begin to breathe.
By MICHAEL PERKINS
ABSTRACT COMPOSITIONS AREN’T MERELY A DIFFERENT WAY OF PHOTOGRAPHING A SUBJECT: they are, in many cases, the subject itself. Arrangements of shape, shadow and contrast can be powerful enough to carry the weight of a picture all by themselves, or at least be an abbreviated, less-is-more way of suggesting objects or people. And in terms of pure impact, it’s no surprise that photographers who, just a generation ago, might have worked exclusively in color, are making a bold return to black and white. For abstract compositions, it’s often the difference between a whisper and a shout.
I find it interesting that the medium of comics, which has long been defined by its bold, even brutal use of color, is also experiencing a black & white resurgence in recent years, with such masters as Frank Miller (Batman: The Dark Knight Returns) rendering amazing stuff in the most starkly monochromatic terms. Likewise, the army of apps in mobile photography has reminded young shooters of the immediacy, the power of monochrome, allowing them to simulate the grain and grit of classic b&w films from Tri-X to Kodalith, even as a post-production tweak of a color original.
You know in the moment whether you’ve captured a conventional subject that sells the image, or whether some arrangement of forms suggestive of that subject is enough. In the above shot, reducing the mild color tonal patterns of a color original to bare-boned, hard blacks and loud whites creates the feel of a shaded door frame..a solid, dimensional space. The box-like enclosure that envelops the door is all there, but implied, rather than shown. As a color shot, the image is too quiet, too…gentle. In monochrome, it’s harder, but it also communicates faster, without being slowed down by the prettiness of the browns and golds that dominated the initial shot.
There are two ways to perfect a composition; building it up in layers from nothing into a “just-enough” something, or stripping out excess in a crowded mash-up of elements until you arrive at a place where you can’t trim any further without losing the essence of the picture. Black and white isn’t just the absence of color: it’s a deliberate choice, the selection of a specific tool for a specific impact.
By MICHAEL PERKINS
THERE ARE MANY WAYS TO FORCE YOUR AUDIENCE TO SEE THINGS ANEW, to strip away their familiar contexts as everyday objects and create a completely different visual effect. The first, and most obvious form of abstraction we all learned in our cradle, that of rendering a subject in black and white. Some early photographers spent so many years in monochrome, in fact, that they actually regarded early color with suspicion, as is it was somehow less real. The moral of the story is: the photograph demonstrates the world that you dictate, shown strictly on your own terms.
Abstraction also comes about with the use of lenses that distort distances or dimensions, with re-assignment of color (green radishes, anyone?), and by compositions that extract subjects from their natural surroundings. Isolate one gear from a machine and it becomes a different object. Magnify it, light it differently, or show just a small portion of it, and you are taking it beyond its original purpose, and into abstraction. Your viewer is then free to re-interpret how he sees, or thinks, about that thing.
One swift gift of the post-digital world that I find interesting is the ability, through apps, to render a negative of any image with a click or swipe, then modifying it with the same color filters that you might apply to a positive photo. This affords an incredible amount of trial-and-error in a remarkably short space of time, and better yet, you’re out in the world rather than in the lab. Of course, negatives have always been manipulated, often to spectacular effect, but always after it was too late to re-take the original picture. Adjustments could be made, certainly, but the subject matter, by that time, was long gone, and that is half the game.
Reversing the color values in a photograph is no mere novelty. Sometimes a shadow value can create a stunning design when “promoted” to a lead value with a strong color. Sometimes the original range of contrast in the negative can be made more dramatic. And, occasionally, the reversal process renders some translucent or shiny surfaces with an x-ray or ghostly quality. And, of course, as with any effect, it can just register as a stupid novelty. Hey, it’s a gimmick, not a guarantee.
“Going negative”, as they say in the political world, is now an instantaneous process, allowing you the most flexibility for re-takes and multiple “mixes” as you combine the neg with everything from toy camera effects to simulated Technicolor. And while purists might rage that we are draining the medium of its mystery, I respectfully submit that photographers have always opted for fixes that they can make while they are in the field. And now, if you don’t like the direction you’re driving, you can put ‘er in reverse, and go down a different road.