the photoshooter's journey from taking to making

Posts tagged “Annie Leibovitz

MIND OVER MACHINE

By MICHAEL PERKINS

I no longer believe that there is such a thing as objectivity. Everyone has a point of view. Some people call it style. But what we’re really talking about is the guts of a photograph. When you trust your point of view, that’s when you start taking pictures.

                                                                                                  Annie Leibovitz

NONE OF MY FAVORITE PHOTOGRAPHERS are primarily technicians. Certainly I value the basic mastery required to extract the best mechanical performance out of one’s camera, but I don’t think that a lack of such knowledge necessarily dooms a picture. I do, however, believe that no lens on earth can compensate for a deficiency of mindfulness in the photographer. I cite Annie Leibovitz here because I believe she deftly walks the creative tightrope between an essential understanding of how photography works and a poetic gift for finding how it works for her. She knows her gear as much as is necessary: she knows her heart as much as is possible.

On a shoot, once I’ve established that the camera is on and the lens cap is off, I endeavor to disconnect with the gear and re-connect with the twelve-year-old who first gasped as he gazed through a viewfinder. That kid knew that everything was possible. More precisely, he didn’t know enough to realize what wasn’t possible, and so blithely proceeded to try it all. His older brother (me) wants to point out that the light is wrong, that he packed the wrong lens, and that, maybe, he just doesn’t actually know how to make the picture. Worse yet, he might know just enough to worry that his work won’t register with others. The twelve-year-old doesn’t care.

My photo gods are all people who know all the things that can go wrong with a shot and take the shot anyway. They are not waiting for their moment. They are jumping out of the plane and trusting the chute to open. More to the point, they are trusting themselves.

“I still have a very limited knowledge of the technical side of photography”, Linda McCartney wrote in 1992, looking back upon her amazing body of documentary work in the rock demimonde of the ’60’s. “I prefer to work by trial and error because some of my best pictures have come precisely because I didn’t know enough. By having the “wrong” setting, I’ve actually come up with something good….”


THE RELENTLESS MELT

By MICHAEL PERKINS

THERE ARE PEOPLE YOU PHOTOGRAPH BECAUSE THEY ARE IMPORTANT. Others are chosen because they are elements in a composition. Or because they are interesting. Or horrific. Or dear in some way. Sometimes, however, you just have to photograph people because you like them, and what they represent about the human condition.

That was my simple, solid reaction upon seeing these two gentlemen engaged in conversation at a party. I like them. Their humanity reinforces and redeems mine.

"Old friends, sat on a park bench like bookend": 1/80 sec., f/1.8, ISO 1000, 35mm.

“Old friends sat on a park bench like bookends”: 1/80 sec., f/1.8, ISO 1000, 35mm.

This image is merely one of dozens I cranked out as I wandered through the guests at a recent reception for two of my very dearest friends. Given the distances many of us in the room traveled to be there, it’s unlikely I will ever see most of these people again, nor will I have the honor of knowing them in any other context except the convivial evening that herded us together for a time. Because I was largely eavesdropping on conversations between small groups of people who have known each other for a considerable time, I enjoyed the privilege often denied a photographer, the luxury of being invisible. No one was asked to pose or smile. No attempt was made to “mark the occasion” or make a record of any kind. And it proved to me, once more, that the best thing to relax a portrait subject is……another portrait subject.

I assume from the body language of these two men that they are friends, that is, that they weren’t just introduced on the spot by the hostess. There is history here. Shared somethings. I don’t need to know what specific links they have, or had. I just need to see the echoes of them on their faces. I had to frame and shoot them quickly, mostly to evade discovery, so in squeezing off several fast exposures I sacrificed a little softness, partly due to me, partly due to the animated nature of their conversation. It doesn’t bother me, nor does the little bit of noise suffered by shooting in a dim room at ISO 1000. I might have made a more technically perfect image if I’d had total control. Instead, I had a story in front of me and I wanted to possess it, so….

Susan Sontag, the social essayist whose final life partner was the photographer Annie Liebovitz, spoke wonderfully about the special theft, or what she called the “soft murder” of the photographic portrait when she noted that “to take a photograph is to participate in another person’s mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt.”

Melt though it might, time also leaves a mark.

Caught in a box.

Treasured in the heart.


FLATTERY WILL GET YOU NOWHERE

My beautiful mother, well past 21 but curator of a remarkable face. Window light softens, but does not erase the textures of her features. 1/60 sec., f/4.5, ISO 200. 18mm.

My beautiful mother, well past 21 but curator of a remarkable face. Window light softens, but does not erase, the textures of her features. 1/60 sec., f/4.5, ISO 200. 18mm.

By MICHAEL PERKINS

THE DEPICTION OF THE FACES OF THOSE WE LOVE IS AMONG THE MOST DIVISIVE QUESTIONS IN PHOTOGRAPHY. Since the beginning of the medium, thoughts on how to capture them “best” clearly fall into two opposing camps. In one corner, the feeling that we must idealize, glamorize, venerate the features of those most special in our lives. In the other corner, the belief that we should capture faces as effects of time and space, that is, record them, without seeking to impose standards of grace or beauty on what is in front of the lens. This leads us to see faces as objects among other objects.

The first, more cosmetic view of faces, which calls for ideal lighting, a flattering composition, a little “sweetening” in the taking, will always be the more popular view, and its resultant images will always be cherished for emotionally legitimate reasons. The second view is, let’s “face” it, a hard sell. You have to be ready for a set series of responses from your subjects, usually including:

Don’t take me. I just got up.

God, I look so old. Delete that.

I hate having my picture taken.

That doesn’t even look like me.

Of course, since no one is truly aware of what they “look like”, there is always an element of terror in having a “no frills” portrait taken. God help me, maybe I really do look like that. And most of us don’t want to push to get through people’s defenses. It’s uncomfortable. It’s awkward. And, in this photo-saturated world, it’s a major trick to get people to drop their instinctive masks, even if they want to.

Still.

As I visually measure the advance of age on my living parents (both 80+ ) and have enough etchings on my own features to mirror theirs, I am keener than ever to avoid limiting my images of us all to mere prettiness. I am particularly inspired by photographers who actually entered into a kind of understanding with their closest life partners to make a sort of document out of time’s effects. Two extreme examples: Richard Avedon’s father and Annie Leibovitz’ partner Susan Sontag were both documented in their losing battles with age and disease as willing participants in a very special relationship with very special photographers….arrangements which certainly are out of the question for many of us. And yet, there is so much to be gained by making a testament of sorts out of even simple snaps. This was an important face in my life, the image can say, and here is how it looked, having survived more than 3/4 of a century. Such portraits are not to be considered “right” or “wrong” against more conventional pictures, but they should be at least a part of the way we mark human lives.

Don't forget to document the effects of time on your own face. f/1.8, 35mm.

Don’t forget to document the effects of time on your own face.  1/160 sec.,  f/1.8, ISO 200, 35mm.

Everyone has to decide their own comfort zone, and how far it can be extended. But I think we have to stretch a bit. Pictures of essentially beautiful people who, at the moment the shutter snaps, haven’t done up their hair, put on their makeup, or conveniently lost forty pounds. People in less than perfect light, but with features which have eloquent statements and truths writ large in their every line and crevice. We should also practice on ourselves, since our faces are important to other people, and ours, like theirs, are going to go away someday.

In trying to record these statements and truths, mere flattery will get us nowhere. The camera has an eye to see; let’s take off the rose-colored filter, at least for a few frames.


SMILE! OR NOT.

Since we’re usually unhappy with the way others capture us, we have nothing to lose by a making a deliberate effort to come closer to the mark ourselves. Self-portraits are more than mere vanity; they can become as legitimate a record of our identities as our most intimate journals.  1/15 sec., f/7.1, ISO 250, 24mm.

 

By MICHAEL PERKINS

A COMMONLY HELD VIEW OF SELF-PORTRAITURE  is that it epitomizes some kind of runaway egotism, an artless symbol of a culture saturated in narcissistic navel-gazing. I mean, how can “us-taking-a-picture-of-us” qualify as anything aesthetically valid or “pure”? Indeed, if you look at the raw volume of quickie arm’s length shots that comprise the bulk of self-portrait work, i.e., here’s me at the mountains, here’s me at the beach, etc., it’s hard to argue that anything of our essence is revealed by the process of simply cramming our features onto a view screen and clicking away…..not to mention the banality of sharing each and every one of these captures ad nauseum on any public forum available. If this is egotism, it’s a damned poor brand of it. If you’re going to glorify yourself, why not choose the deluxe treatment over the economy class?

I would argue that self-portraits can be some of the most compelling images created in photography, but they must go beyond merely recording that we were here or there, or had lunch with this one or that one. Just as nearly everyone has one remarkable book inside them, all of us privately harbor a version of ourselves that all conventional methods of capture fail to detect, a visual story only we ourselves can tell. However, we typically carry ourselves through the world shielded by a carapace of our own construction, a social armor which is designed to keep invaders out, not invite viewers in. This causes cameras to actually aid in our camouflage, since they are so easy to lie to, and we have become so self-consciously expert at providing the lies.

The portraits of the famous by Annie Liebovitz, Richard Avedon, Herb Ritts and other all-seeing eyes (see links to articles below) have struck us because they have managed to penetrate the carapace, to change the context of their subjects in such dramatic ways that they convince us that we are seeing them, truly seeing them, for the first time. They may only be doing their own “take” on a notable face, but this only makes us hunger after more interpretations on the theme, not fewer. Key to many of the best portraits is the location of their subjects within specific spaces to see how they and the spaces feed off each other. Sometimes the addition of a specific object or prop creates a jumping off point to a new view. Often a simple reassignment of expression (the clown as tragedian, the adult as child, etc) forces a fresh perspective.

As for the self-portrait, an artistic assignment that I feel everyone should perform at least once (as an intentional design, not a candid snap), there is a wealth of new information gleaned from even an indifferent result. Shooters can act as lab rats for all the ways of seeing people that we can think of to play at, serving as free training modules for light, exposure, composition, form. I am always reluctant to enter into these projects, because like everyone else, I  balk at the idea of centering my expression on myself. Who, says my Catholic upbringing, do I think I am, that I might be a fit subject for a photograph? And what do I do with all the social conditioning that compels me to sit up straight, suck in my gut, and smile in a friendly manner?

One can only wonder what the great figures of earlier centuries might have chosen to pass along about themselves if the self-portrait has existed for them as it does for us. What could the souls of a Lincoln, a Jefferson, a Spinoza, an Aquinas, have said to us across the gulf of time? Would this kind of introspection been seen by them as a legacy or an exercise in vanity? And would it matter?

In the above shot, taken in a flurry of attempts a few days ago, I am seemingly not “present” at the proceedings, apparently lost in thought instead of engaging the camera. Actually, given the recent events in my life, this was the one take where I felt I was free of the constraints of smiling, posing, going for the shot, etc.  I look like I can’t focus, but in catching me in the attempt to focus, this image might be the only real one in the batch. Or not. I may be acting the part of the tortured soul  because I like the look of it. The point is, at this moment, I have chosen what to depict about myself. Accept or reject it, it’s my statement, and my attempt to use this platform to say something, on purpose. You and I can argue about whether I succeeded, but maybe that’s all art is, anyway.

Thoughts?