By MICHAEL PERKINS
PHOTOGRAPHY, FOR BOTH ARTIST AND AUDIENCE, operates like all the other arts, in that it affords us entry into a million worlds beyond the narrow confines of our own. The camera is both reporter and thief, a kind of mechanical pack rat that comes back to home base bearing treasures from other people’s lives. Like poetry, painting, literature, and music, the art of making images is an act of purloining pieces of things that do not belong to us. And that’s a good thing?
The question mark at the end of that sentence is needful, as are further inquiries. Are the things we nick from the stores of other people’s experience thefts, or are they an innocent sampling of wonder, like a bunch of wildflowers carried home from the field? Obviously, such questions can only be settled one picture at the a time. Photographers have, indeed, hooked themselves, worm-like, onto the hearts of people who are both content and suffering, of those who deserve some kind of baseline privacy which the very existence of the camera has placed at risk.
In making pictures of children at play, I make no bones about the fact that I am, certainly, eavesdropping on their experience. It can’t be expressed any other way. I am using a machine to freeze slices of their joy in an effort to enhance my own. But it’s not a predatory activity per se: I have no criminal motive in stealing a fragment of their carefree game, which is both private and public property in a strange see-saw that photographers must always struggle to keep in balance. The photograph shown here, for example, is more benign, even respectful, than the work of a reporter, say, who, under deadline, must extract loss or grief from the aftermath of war or disaster to earn his daily bread. But is my invasion only a friendly one because I have told myself it is? This is all to be discussed further, and by “further”, I mean “endlessly”.
In other arts, the audience comes into contact with a variety of lives, and yet, in novels or movies, those lives are largely invented to illustrate the creator’s point of view. In a photograph, the subjects are actual people, and our parking ourselves near them for our enjoyment dictates different rules of engagement. Appropriating someone’s story makes you, as its next translator, responsible for its truth.
By MICHAEL PERKINS
IN TIMES LIKE THESE, OUR EYES HUNGRILY SEEK OUT signs of continuity, proof that, even as many things pass away, other things, essential things, will go on. This desire to see a way for part of today to remain, as a part of tomorrow, is strong in days of crises, and it finds its way into the viewfinders of our cameras. We know, logically, at least, that a bit of the world is always ending. But we emotionally, we long to be assured that something important will remain. And we make pictures accordingly.
Like many, I have recently limited my time “out” to walks in wide open spaces. Six feet of separation and all that. The thing that connects me anew to those that I encounter is my camera, and so I have been shooting almost exclusively with what the commercial market calls a “super zoom”, the perfect tool for people who want to feel close but dare not actually get close. I don’t think of myself as deliberately spying or peeping on people, and much of what I see I reject as being a bit too intimate for sharing. But the general tableaux of everyday humanity comes up again and again, in ways which suggest effective images that do not betray my subject’s privacy, yet convey things that we are all feeling. It’s a tightrope walk, but with care, that very important personal distance can be respected.
In the image you see here, there’s nothing more universal than a mother and daughter walking together, and yet its value in memory, to me, is very specific. I clearly recall the sensation of walking with my father, all five feet nine of him, as a tiny boy, and seeing him as a giant….a mountain of reassuring protection. I stood on his shoulders: I ran between his legs: He swung me like a sling: His arms bore me up and gave me the sensation of flying like Superman. Most important was the pure transmission of happy energy from him to me, his life conducting itself into mine. We were a big candid photo family, and so I have lots of archival data on every part of my childhood, chronicles of years when my young parents grew up side by side with my sister and me and we were absorbed into the best part of them. My parents are 91 and 88 this year, and the current situation forbids my being in even the same half-continent as they, but I carry with me all my Walks With Giants, all the times I was the laughing girl in this image. I hope that she and her mother would not begrudge me the privilege of borrowing their energy and trapping a bit of it inside my box. It’s a life force that, in a larger sense, belongs to us all.
Because some things must go on.
And they will.
By MICHAEL PERKINS
STREET PHOTOGRAPHY IS, AT BEST, a frustratingly imprecise method of, well, eavesdropping. In such unplanned documentary images, the photographer is cast as a kind of sneak-thief, bent upon prying into the unguarded moments of an unsuspecting quarry. But unlike the practice of listening at the keyhole, of course, unposed pix provide no sound, no dialogue to accompany the streetie’s stolen views, and so the resulting pictures often conceal as much as they reveal about What Is Going On Here. We see, but we don’t discern. At least, not solely on what is shown.
Of course, that is the delicious element of the process of street. We supply the missing pieces of the puzzle, assigning our own “meaning” to what we think we have seen. Line up a handful of viewers to interpret a photographed interaction between people and note the incredible variety of “answers” or “solutions” to the image. Part of the allure of photography is that we think as much about what a photo doesn’t show as what it does. In some ways, it’s like the relationship moviegoers had with silent film. Certainly the title cards provided the essential story points or pivotal bits of dialogue, but we also had our minds to conjure what those longing glances, those missing voices, those unseen details were really all about. And so, even in an art form in which we prize the miracle of preserving moments unmoored from time, we agree, along with our audiences, that these moments are incomplete, that, in fact, the finishing of them, in our eyes, is part of the wonder, part of the art.
And so perhaps the best street photographs are special not so much for what they show, but for how successfully they spark that urge within us to know more. Our speculations and guesses, are, in the absence of important information, as valid or “true” as anyone else’s take on the thing. That again demonstrates that photography is a creative process for both taker and viewer. It’s a cooperative enterprise, a divine guessing game with no final resolution: a circle.
By MICHAEL PERKINS
HISTORY DOES NOT HAPPEN WITHIN THE STORMY SURGE OF A CROWD, but with the quiet, agonized turning of individual hearts. One heart at a time, that’s how the world is turned…..or overturned.
Protests and demonstrations are a natural magnet for photographers. They appeal to the journalist in all of us, as street photography meets street theatre in a roiling mix that maybe, just, maybe will allow us to trap history inside our magical boxes. Thing is, certain surface elements of marches and public gatherings are dismayingly uniform: the sea of signs, the crush of bodies, the speaker’s rostrum….and masses of angry/jubilant faces. Photographers realize that world-changing events are really about faces, more than any other visual element. We look for features that record the raw essence of those events: pity, fear, exhilaration, relief, anger. Finding the right face within a mass gathering is the toughest assignment for anyone hoping to use a camera to record the over-large mash-up of sensations within a movement. A solid wall of people with signs isn’t the real story: what brought individuals to the site is the only message that can be trusted. You must fan past the mass of noise to find the quiet at the center.
You need not pick a side in a struggle to record what it costs people to invest their energy in having picked one themselves. The woman seen here, standing near an improvised speaker’s platform, may never have seen herself as a force to change the world. She is not triumphant: she is not a bomb-hurler: she doesn’t share in the giddy me-tooism of youth: she may actually wish she were somewhere else, even as something has told her she must be only here, right now. The parade/protest will rage on in big waves of zeal, but her emotion, at least in this moment, is not one of celebration. She is not having a good time. But written in her apprehension is something universal, eternal.
The human race seems, age after age, to be in search of the same basic things. The drama in our lives is defined by the path we choose to reach those things. And all of our quests force their way up into our features. Our faces betray what path we’re on, and why. There is no wisdom in the mob, unless it is in the wisdom of one face after another, all of whom, on the same day, strangely found themselves standing in the same spot.
I am a member of the blank generation. – Richard Hell
By MICHAEL PERKINS
STREET PHOTOGRAPHY HAS LARGELY BUILT ITS TRADITIONS on the truths and tales of the human face. The art of illustrating urban narratives on the fly relies chiefly on how those stories register on those faces. It’s a visual drama that no shooter can resist.
But the story of how, for good or ill, modern cities affect people….the way they process, channel, contain or empower them as moving props……that kind of story can be told without clear or readable facial features. This doesn’t mean that “humanity” doesn’t matter in these pictures: it means that some images are designed to show how it’s impacted that humanity en masse rather than one person at a time.
There is one other singular thing that happens when a photograph renders a face as a blank canvas. It means that, for the interpretive viewer, that face can now contain whatever he/she wants it to. In such pictures, both photographer and audience are in a kind of coded conversation about what the image “says”.
To illustrate this point: the above photo may or may not be about anything more dramatic than three men in the act of riding an escalator, headed for lunch/a meeting/the parking lot. However, since their features are shrouded in shadow and presented in a softer focus, I can intend a message of my own devise, and outside eyes can supply subplots that either complement or derail that narrative. That’s the kind of chat that keeps an art throbbing along. It allows everybody on either side of a photograph a chance to paint portraits based on their own eye.
By MICHAEL PERKINS
THE MASS PROLIFERATION OF THE CELL PHONE has fundamentally changed the dynamics of personal interaction, in a way unforeseen in the first days of Alexander Graham Bell’s original devices. In general, the first telephones were seen as an overall boon to mankind. They annihilated distance, sped up commerce, established connections between every person on the planet and every other person on the planet. If anyone in the nineteenth century had been familiar with the phrase “win-win”, the arrival of the phone might have elicited its first use.
But let’s now examine conversation itself, thinking of it as potentially photographic, an exchange which may not be overheard, but which, in terms of street photography, can be, if you will, overseen. Many wonderful images have been captured of people in the act of this kind of vigorous verbal ballet, their joy, vulnerability and engagement making for solid, natural visual drama. And the thing that has been at the base of many a conversation is that it was necessary for people to be physically adjacent to each other in order to have it. The telephone’s physical “reach” was finite. You had to be where a phone was to use one. From home. From the office. Or whenever Clark Kent freed up a booth.
With the arrival of the mobile, however, came the elimination, in millions more conversations, of the need for face-on communications….which, in turn, eliminated the “overseen” direct chat from the photographer’s daily street menu. Certainly it isn’t hard to see at least one half of a million calls ( try walking the streets without seeing one), but the narrative of a traditional conversation, captured visually by the camera, offers substantially more impact. Half a phone conversation is certainly real, but it isn’t real interesting. Technology is never really win-win, after all. In actuality, you trade off managable losses for potential major wins.
There is something palpably authentic about the connection between the women in the above image. And unlike the case of a shot of someone on their phone, the camera in this case doesn’t have to suggest or guess. It can show two people in active engagement. Trading that photographic opportunity away for mobility and convenience is one of the real consequences of the wireless revolution. And as a photographer, you may find yourself longing for a bygone, more personal kind of connectivity.
By MICHAEL PERKINS
AT THIS STAGE OF MY LIFE, I find myself playing two conflicting games of “who’s there” as regards my identity in the context of generations. On one hand, in front of the shaving mirror, I can clearly see my grandmother’s face pushing its way forward through my own. On the other, I now can see echoes of the “serious” younger man I thought I was being inscribed across the features of my adult children.
It is too late for me to explore my grandmother’s face for further clues, beyond studying the images others made of her. Sadly, as a photographic subject, she was amazingly opaque. I can’t think of a single image of her that reveals or explains an iota of what I know emotionally of her. Looking down into her soul through a photograph is as unlikely as trying to see through a lead-lined wall. As for myself and my three legatees, we seem not only to be facial re-interpretations of each other, but occasionally, a glimpse into what she was as well. Strange.
My children are all serious contenders, in that they believe that life is to be gotten on with, no dilly-dallying, if you please. They are, in that way, far better agents of change and action than I was. Time has begun to burn childhood’s last traces from their features, but the remaining faces are those of big, deep livers, of striver-survivors. Their own legends are now inscribed on them: they are, focused, intentional, resolute, courageous. I see the concern and apprehension I once wore on my own face: I read the uncertainty of their contending in this world. But I also see every laugh, every explosion of joy, every haywire vision and dream that I knew in myself: I see their first giggles, their earliest amazements.
And so, although my camera can only see a fraction of these things unaided, I am now able to provide that aid: I see now with ever-new eyes. These intimate strangers are my teachers, not my students. My grandmother, cipher of raw endurance that she was, might even have recognized herself in these new iterations of old star-stuff. She speaks to me in the mirror, as if to remind me, get it right, boy. Similarly, my children speak to me in pictures, enjoining me to do the same thing.
By MICHAEL PERKINS
I AM NEVER TRULY COMFORTABLE working with a camera that isn’t physically locked onto my eye. Shooting without a viewfinder was, for me, perhaps the hardest part of gradually embracing cel photography, and continues to be a control issue that still inclines me toward my Nikons most of the time. Part of it, I freely admit, is mere sentimental habit……maybe even, who knows, superstition?…..and yet when I’m crammed up against that little square of glass, I feel as if I’m “really” taking a picture.
That’s why it’s really a rare bird for me to “shoot from the hip” with a DSLR, to try to sneak a street candid without my camera anywhere near my face at all, holding the thing at mid-chest or waist level or even squeezing off a frame while it’s hanging from my shoulder. If the opportunity is literally too juicy to resist, and if looking like a (gasp) photographer will spook my quarry (or get a Coke thrown in my face), well, then, desperate times call for desperate measures.
I arrived at such a “desperate times” moment the other day by being caught out with the wrong lens. I had thought that I would be spending my afternoon at a horse show inside barns and stables, indicating a wide-angle to open up cramped spaces, so I packed a 24mm to go wide but keep distortion to a minimum. Once Marian and I arrived at the event, however, she got interested in an arena competition, and so in we went. Now I’m taking big shots of a cavernous hall punctuated by long lines of little tiny horses. If a rider lopes directly in front of my seat, I can almost make out his face. Otherwise I’m zoomless and story-less. Can we go home now?
I hear a husky female drawl off to the left.
“Jus’ let her walk, Annie. She wants to walk.”
Turns out the voice belongs to a spangled matron with a Texas twang sharp enough to chop cheddar, herself apparently just off the competition track and now shouting guidelines to another woman in the field. I immediately fall in love with this woman, hypnotized by her steely stare, her no-nonsense focus, and the fact that, unlike the far-away formations of horses directly in front of me, she is a story. A story I need to capture.
But any visible sign of guy-with-a-camera will ruin it all. I will swing into the range of her peripheral vision. Her concentration will break. Worse, the change in her face will make the story all about the intrusive jerk six feet away. And so I hug the camera to the middle of my chest, the lens turned generally in her direction. Of course I have no reliable way to compose the shot, so I spend the next several minutes shooting high, low, losing her completely in the frame, checking results after every click, and finally settling on the image you see here, which, despite my “calculations” for a level horizon, looks a bit like a shot from the old Batman tv series. Holy carsickness.
Strangely, shooting at actual horses (at least with the glass I brung) was telling me nothing about horse culture. But the lady with the spangly blouse and Stetson got me there. It’s literally her beat, and I was grateful to, yes, sneak a glimpse at it.
By MICHAEL PERKINS
ONE OF MY FAVORITE JOKES ABOUT HOW HUMANS END TO OVER-THINK THINGS involves a farmer standing by the side of the road with a herd of cattle, who is greeted by a passing urban tourist. “Excuse me”, says the visitor, “are those Herefords or Guernseys?” “Gee”, replies the farmer, “I just call ’em ‘moo-cows’!”
Similarily, I sometimes think that the weighted term street photography is more distinction than difference. City, country, street, pasture…hey, it’s all just pictures, right? Yes, I know….”street” is supposed to denote some kind of commentary, an interpretive statement on the state of humanity, an analysis on How We Got Here. Social sciences stuff. Street work is by nature a kind of preachment, born as it was out of journalism and artists like Jacob Riis and Lewis Hine, who used images to chronicle the city’s ills and point toward solutions. For these geniuses and so many that followed, those street scenes rested fundamentally on people.
And by people, we mean discernible faces, unposed portraits that seared our souls and pricked our consciences. Street photography came to focus almost solely on the stories within those faces: their joy, their agony, their buoyant or busted dreams. In my own work, however, I am also drawn to street scenes where people are not front and center, but blended into the overall mix of elements, props, if you like, in an overall composition, like streetlamps, cars or buildings. There can be strong commentary in images that don’t “star” people but rather “feature” them. Walker Evans, one of the premiere shooters working for the New Deal’s Farm Security Administration, and creator of many classic depictions of the Great Depression, remarked that folks, as such, were not his aim when it came to street shots. “I’m not interested in people in the portrait sense, in the individual sense”, he said in 1971. “I’m interested in people as part of the pictures….as themselves, but anonymous.”
There is always a strong strain of competition among photographers, and street photography can become a wrestling match about who is telling the most truth, drilling down to the greatest revelation….a kind of “streeter than thou” mentality. However, just because something is raw and real doesn’t make it interesting, or else we could all just shoot the inside of garbage cans all day and be done with it. Compelling is compelling and boring is boring and if you know how to make a picture that grabs the eye better than the next guy, then subject matter, even motivation, doesn’t matter a damn. The picture is all. The picture will always be all. Everything else is noise.
By MICHAEL PERKINS
SOME OF MY URBAN PHOTOGRAPHY COULD POTENTIALLY STRIKE THE AVERAGE VIEWER as somewhat remote, even a bit cold. It flies in the face of some of the universally held “truths” about so-called street photography. Sometimes it doesn’t even have a face. Or faces.
If the best street shooters are thought to reveal truth in the features of the denizens of all those boulevards, then I might really be at a disadvantage, since many of my images are not about faces.
They are, however, about people.
I tend to use passersby, in city pictures, to several ends. beyond the regular kind of unposed portraiture that is standard “street” orthodoxy. One is scale, that is, how they dominate or are diminished by the sheer size or scope of their surroundings. Some cities seem to swallow people, reducing them to anti-sized props in an architect’s tabletop diorama. I try to show that effect, since, as a city dweller, it affects me visually. Other times, I show people completely silhouetted or swaddled in shadow. This is not because their faces aren’t important, but because I’m trying to accurately show their roles as components in an overall choreography of light, as I would a mailbox or a car. Again, the idea is not to avoid or conceal the stories that may reside in their faces, but to also accentuate their body language, how they occupy a space, and, yes, as abstract design elements in a large still life (okay, that sounds a bit clinical).
I certainly bow to the masters whose controlled ambushes of strangers have captured, in candid facial shots, harrowing, inspiring, or amusing emotions that deepen our understanding of each other. You could rattle off their names as easily as I. But using people in pictures isn’t only a miniature invasion into their features, and certainly isn’t the only way to depict their intentions or dreams.
And then there is the other problem for the street portraitist, in that some faces will remain ciphers, resisting the photographer’s probe, explaining or revealing nothing. In those cases, a face poses more questions than it answers. As usual, the argument is made by the individual picture.
By MICHAEL PERKINS
SPORTS PHOTOGRAPHY IS FLAT-OUT REPORTORIAL IN MOST CASES, placing its crucial emphasis on the capture of “the decisive moment”. The play that saved the day, or, at least, earned the headline. Hail Mary passes. Impossible catches. Long, nothin’-but-net buzzer-beaters hurled hopefully from Downtown. These are the essence of sports coverage; images that freeze such moments, photos which often outlive the text that they were designed to accompany. Sports photography is, for the most part, about moments of record, moments of now.
Take it out of its pro-level context, however, and sports, as played by most of the rest of us, can simply be about someday….or more precisely, any moment now. Sports reports are often viewed as strongly edited segments that stitch together one now moment after another in breathless digests of daily “greatest hits”. For many of us regular slobs, however, life isn’t played out that way. Real time, on our playing fields, consists of an infinite number of long, eventless stretches. Sadly, most of us don’t move seamlessly from career high to career high. Instead, there are many stops along the way…to smell the roses, count down the clock, and praaaaaaay for the final bell.
Photographically, kid sports often strike me as more fun than adult games, principally because the terms of engagement are so very different from the grown-up stuff. Children’s games are free of the deadly seriousness that seems to have tainted sports in recent years, robbing them of much of their playful escape. Young Dick and Young Jane aren’t doing this for a living. There is seldom anything of consequence on the line, except maybe the vanity of their parents. And when it comes to providing great images, the mix of true technique and awkward innocence makes for a charming combination, as the young combatants ape their mentors, even as they betray their innate kid-ness.
The young man captured here is, above all else, having fun. He’s enjoying the sweet anticipation of the unexpected. He already has the mechanics of a young pro, but his curious exploration of the option of stealing third is all little boy. Lots of story here, and in many moments which never approach the drama of a national championship or a three-peat. Images are narratives, and, in photographing more than just a player’s once-in-a-lifetime Grand Slam, we learn about striving. And waiting. And dreaming.
Theirs and ours.
By MICHAEL PERKINS
MUSEUMS AND GALLERIES COMPRISE SOME OF THE MOST INTERESTING WORKOUT SPACES for photographers, but for none of the reasons you might suppose. On the most obvious level, certainly,they are repositories of human endeavor, acting basically as big warehouses for things we deem important. But, beyond that, they are also laboratories for every kind of lighting situation, a big ‘ol practice pad for the mastery of lenses and exposure strategies. Sometimes the arrangement of color and shadow in some art houses is so drastically different from room to room that, even if there is nothing of note hanging on the walls, the walls themselves can frame amazing compositional challenges.
There is also a secondary, and fairly endless, source of photographic sketch work to be had in the people who visit public art spaces. The body language of their contemplative study of the artwork is a kind of mute ballet all its own, and no two patterns are alike. Watching the people who watch the art thus becomes a spectator sport of sorts, one which works to the advantage of the candid shooter, since people are more immersed in the paintings and thus a little less aware of themselves as regards the photographer. That leads to what I call “bodily candor”, a more relaxed quality in how they occupy their personal space.
Sometimes, as seen in the images in this article, your subject’s physical footprint is enough to express a full sense of the person without a trace of facial detail. In fact, I actually prefer this “no-face” approach, since it forces the viewer to supply some information of his own, making the photographs more interactive.
Try some gallerylab shots the next time you are hostage to a museum tour that was someone else’s idea of a good time. The exhibits themselves may disappoint, but the museum space and the people in it offer pretty consistent material.
By MICHAEL PERKINS
CHILDREN AND ANIMALS OPERATE IN WORLDS DIFFERENT ENOUGH FROM OUR OWN that they merit a special viewpoint when being photographed. Composing an image designed to enter into their special realities should facilitate that process, giving the viewer the idea that he has gained entry to their realms. The camera’s eye needs to seem to inhabit their actual living space.
I’ve felt for a long time that the formal K-Mart studio method of making a child’s portrait is stiflingly inadequate for plumbing that young person’s real animating spirit. And as for pets, the sheer daily deluge of animal snaps posted globally are served just as badly from over-formalizing or staging. Intimate insight into the self can’t be achieved by generic backdrops, tired props or balanced flash alone. If anything, such systems push the real child further away from view, leaving only a neutral facade in place of the true human. Personality locks eyes with the lens in unguarded, not choreographed, moments.
I’m not saying that no preparation should go into animal or child pictures. I am suggesting that a “snapshot mentality”, backed by lots of shooting experience, can yield results that are more organic, natural and spontaneous. Shoot in a moment but apply what you have learned over a lifetime.
Even the simple practice of shooting on your subject’s level, rather than shooting like a grownup, i.e., downhill toward your subject, can create a connection between your line of sight and theirs. If your kids and kitties are on the floor, go there. Another simple way to create an intimate feel is to have the child or pet dominate the frame. If there is some other feature of the room, from furniture to other people, that does not rivet your audience’s attention to the main subject, cut it out. Many, many portraits fail by simply being too busy.
And, finally, catch your dog, cat, boy or girl doing something he’s chosen to do. Don’t assign him to play with a toy, or ask him to stand here, here, or here. Wait like a professional, then shoot fast like a snapshotter. The more invisible you become, the less distraction you provide. Looking at a child or pet enthralled by something is a lot more interesting than watching him watch you. If you do happen to lock eyes during the process, as in the case of the rather suspicious house cat seen above, steal that moment gladly, but don’t try to direct it.
Don’t draw your portrait subjects into your energy. Eavesdrop on theirs. The pictures will flow a lot more naturally, and you won’t have to work half as hard.
By MICHAEL PERKINS
THE CHOICE OF TIME, PLACE AND APPROACH IN THE MAKING OF A PORTRAIT is as individual as the human face itself. No two photographers have quite the same process for trying to capture the essence of personality with a camera. Moreover, having chosen a preferred path to making these most personal of images, we often are tempted to stray off of it. As with anything else in the art of creating photos, nothing, from formal studio settings to street candids, works all the time.
Just as one example, the key to portraits, for me, is to always be as fully mindful, in the moment, of the changes that a face can display within the space of a few seconds. You seem to be presented, from start to finish, with a different person altogether…..some other person that showed up, uninvited, to the shoot you’re doing for..someone else. Thus, it’s never a surprise to me when a subject views his/her image from a session, and immediately remarks, “that doesn’t even look like me”, which is, for them, quite correct. It’s as if their face showed something, just for a second, that they don’t recognize as their “official” face. And the photographer sees all these strangers blur by, like the shuffle of a deck of cards.
In photographing my wife Marian, I battle against her native resistance to having her face recorded, well, at all. It’s a rather invasive procedure for her, and, since the finest qualities of her face are revealed when she’s least self-conscious. That rules out studio settings, since all her “danger, Will Robinson” triggers will go off simultaneously the more formalized the situation becomes. I have to use that momentary mindfulness to sense when her face is ready….that is, when she is least aware of having her picture taken. That may mean that many other people are around her, since interaction is relaxing and distracting for her. In the above image, I got particularly lucky, since several factors converged in a moment that I could not have anticipated.
Listening to a history guide on the streets of Boston, Marian’s face set into a wonderful mix of serenity, focus, studiousness. Her finest qualities seem all to have coalesced in a single moment. Even better, although she is in a crowd, the arrangement of people surrounding her kept all other faces either out of focal register or partially hidden, rendering them less readable as full people. That gave the composition a center, as hers was the only complete face in view. Click and done.
Portraits are certainly about anticipation and preparation. But they also have to be about the reactivity of the photographer. And with something as mutative, and mysterious, as the human face, flexibility is a far more valuable tool than any lens or light in your kit bag.
By MICHAEL PERKINS
FORGET BLOWN EXPOSURES, SHAKY SNAPSHOTS, AND FLASH-SATURATED BLIZZARDS. The hardest thing to avoid in the taking of a picture is winding up with a picture full of other people taking a picture. Hey, democracy in art, power to the people, give every man a voice, yada yada. But how has it become so nearly impossible to keep other photographers from leaning in, crossing through, camping out or just plain clogging up every composition you attempt?
And is this really what I’m irritated about?
Maybe it’s that we can all take so many pictures without hesitation, or, in many cases, without forethought or planning, that the exercise seems to have lost some of its allure as a deliberate act of feeling/thinking/conceiving. Or as T.S. Elliot said, it’s not sad that we die, but that we die so dreamlessly. It’s enough to make you seek out things that, as a photographer, will actually force you to slow down, consider, contemplate.
And one solution may lie in the depiction of other people who are, in fact, taking their time, creating slowly, measuring out their enjoyment in spoonfuls rather than buckets. I was recently struck by this in a visit to the beautiful Brooklyn Botanical Gardens on a slow weekday muted by overcast. There were only a few dozen people in the entire place, but a significant number of those on hand were painters and sketch artists. Suddenly I had before me wonderful examples of a process which demanded that things go slowly, that required the gradual evolution of an idea. An anti-snapshot, if you will. And that in turn slowed me down, and helped me again make that transition from taking pictures to making them.
Picturing the act of thought, the deep, layered adding and subtracting of conceptual consequence, is one of the most rewarding things in street photography. Seeing someone hatch an idea, rather than smash it open like a monkey with a cocoanut does more than lower the blood pressure. It is a refresher course in how to restore your own gradual creativity.
BY MICHAEL PERKINS
IN PORTRAITS, PHOTOGRAPHERS SOMETIMES HAVE TO SUBSTITUTE INTIMACY FOR TECHNICAL PERFECTION. We understandably want to come as near as possible to meticulously modulated light in telling the story of a face, and so we try to ride the line between natural, if inadequate light, and light which is shaped so much that we dull the naturalness of the moment.
It’s a maddening tug of war. If we don’t intervene, we might make an image which is less than flattering, or, worse, unfit for publication. If we nib in too much, we get a result whose beauty can border on the sterile. I find that, more often than not, I lean toward the technically limited side, choosing to err in favor of a studied snapshot rather than a polished studio look. If the face I’m shooting is giving me something real, I worry more about throwing a rock into that perfect pond with extra tinkering.
If my subject is personally close to me, I find it harder, not easier, to direct them, lest the quality I’m seeing in their natural state be replaced by a distancing self-consciousness. It puts me in the strange position of having to wait until the situation all but gifts me with the picture, as adding even one more technical element can endanger the feel of the thing. It’s times like this that I’m jammed nose-up against the limits of my own technical ability, and I feel that a less challenged shooter would preserve the delicacy of the situation and still bring home a better photograph.
In the above frame, the window light is strong enough to saturate the central part of my wife’s face, dumping over three-fourths of her into deep shadow. But it’s a portrait. How much more do I need? Would a second source of light, and the additional detail it would deliver on the left side of her head be more “telling” or merely be brighter? I’m lucky enough in this instance for the angle of the window light to create a little twinkle in her eye, anchoring attention in the right place, but, even at a very wide aperture, I still have to crank ISO so far that the shot is grainy, with noise reduction just making the tones flatter. It’s the old trade-off. I’m getting the feel that I’m after, but I have to take the hit on the technical side.
Then there was the problem that Marian hates to have her picture taken. If she hadn’t been on the phone, she would already have been too aware of me, and then there goes the unguarded quality that I want. I can ask a model to “just give me one more” or earn her hourly rate by waiting while I experiment. With the Mrs., not so much.
Here’s what it comes down to: sometimes, you just have to shoot the damned thing.
by MICHAEL PERKINS
I SEE MANY, MANY HOMELESS PEOPLE THESE DAYS. Sometimes on
the streets of my home city. More occasionally on the streets of other towns. And every single day, without fail, on every photo upload site in the world. Many of the uploaders think this is “street photography”.
Many of the uploaders need to think again. Hard.
The mere freezing in a frame of someone whose lousy luck or bad choices have placed him on the street is not, of and by itself, some kind of visual eloquence. Not that it can’t be, if some kind of story, or context, or statement accompanies the image of a person driven to desperation. But not the careless and heedless snaps that are, I will say, stolen, at people’s expense, every day, then touted as art of some kind. The difference, as always, is in the eye of the photographer.
Many millions of people have been “captured” in photographs with no more revelatory power than a fire hydrant or a tree, and just catching a person unawares with your camera is no guarantee that we will understand him, learn what landed him here, care about his outcome. That’s on you as a photographer.
If all you did was wait until someone was fittingly juxaposed with a row of garbage cans, a grimy brick wall, or an abandoned slum, then lazily clicked, you have contributed nothing to the discussion. Your life, your empathy, your sense of loss or justice….all must interact with your shutter finger, or you have merely committed an act of exploitation. Oh, look at the poor man. Aren’t I a discerning and sensitive artist for alerting humanity to this dire issue?
Well, maybe. But maybe not. Photographs are conversations. If you don’t hold up your end of it, don’t expect the world to pick up the slack. If you care, then make sure we care. After all, you’ve appropriated a human being’s image for your own glory. Make sure he gave that up for something.
By MICHAEL PERKINS
YOU SEE RIDICULOUS ARTICLES FROM TIME TO TIME claiming that baseball has been replaced as America’s Pastime. Such spurious scribblings invariably point to game attendance, TV ratings, or some other series of metrics that prove that football, basketball, and, who knows, strip Scrabble have reduced baseball to some quaint state of irrelevancy. All such notions are mental birdpoop for one salient reason. No one is giving due attention to the word pastime.
Not “passion”. Not “madness”. Not even “loyalty”. Pastime. A way of letting the day go by at a leisurely pace. A way to gradually unfurl afternoons like comfy quilts. People-watching. Memory. Sentiment. Baseball is for watchers, not viewers, something that television consistently fails to realize. It’s the stuff that happens in the pauses, of which the game has plenty. Enjoying baseball, and photographing it as an experience, is about what happens in the cracks.
Images are waiting to be harvested in the dead spots between pitching changes. The wayward treks of the beer guys. The soft silence of anticipatory space just before the crack of a well-connected pitch. TV insists on jamming every second of screen time-baseball with replays, stat tsunamis, and analysis. Meanwhile, “live”, in the stadium, the game itself is only part of the entertainment. Sometimes, it actually drops back to a distant second.
Only a small percentage of my baseball pictures are action shots from the field: most are sideways glances at the people who bring their delight, their dreams, and their drama to the game. For me, that’s where the premium stories are. your mileage may vary. Sometimes it’s what’s about to happen that’s exciting. Sometimes it’s the games you remember while watching this one. There are a lot of human factors in the game, and only some of them happen between the guys in uniform.
Photography, as a pastime, affords a great opportunity to show a pastime. America’s first, best pastime.
It’s not just a ballgame. It’s an “all” game.
Root, root, root.
by MICHAEL PERKINS
ONE OF THE SIDE BENEFITS OF PHOTOGRAPHY is that you don’t always have to pick your own subject. Sometimes someone else’s idea of a potentially good image can be yours as well. You simply camp yourself right next to where they’re working and pick off your own shots of their project. Assuming that everyone’s polite and there are no issues of neighborly nibbing, it can work. Just ask anyone who’s clicked away at a presidential press conference or the sudden exit of a celebrity through a side entrance.
Of course, when literally dozens of cameras are trained on a single event, its likely that everyone will come away with the same photos, or very nearly. The moment the prime minister points to drive home his main point, click. The instant when the judges place the tiara on the winning Miss Tomato Paste candidate, click. Sometimes, however, you can kind of “eaves-edit” on just one other shooter’s set-up and edit the shots a different way than he does. You’re not running the session, but you could come away with a better result than he does, based on your choices.
I recently came upon a man shooting a girl in the streets of a kind of faux-village retail environment in Sedona, Arizona. Obviously, the main feature was the lady’s infectious and natural smile. As I came quietly upon them, however, Mr. Cameraman was having a problem keeping that smile from exploding into a full-blown laughing fit. Ms. Subject, in short, had the mad giggles.
Now, from that point onward, I have no idea of what he went home with in the way of a final result, as I had decided that the crack-ups would make better pictures than a merely sweet set of candids. It just seemed more human to me, so I only shot the moments in which she couldn’t compose herself, and took off from there.
I didn’t want to overstay my welcome, so I snapped my little chunk of Mr. Cameraman’s moment and sneaked off, like fast. As I slinked away, I could still hear Ms. Subject telling him, through fits of laughter, “I am so sorry.” She may have been, but I wasn’t.
By MICHAEL PERKINS
ONCE LINDA EASTMAN BECAME LINDA McCARTNEY, the world ignorantly chose to define her as rock’n’roll arm candy basking in the reflected sun of her globally famous husband. In fact, however, by the time she chose to rock a family, she had already created a self that would outlast her role as a reluctant musician and perennial target of every wise-ass disk jockey from London to New York. She did it with a remarkable, natural eye for composition and the untrained instinct to know where to click, and when. While her bandmates wielded electric axes to give voice to their muses, Linda wailed with a Hasselblad.
By the time she became a Mrs. Beatle, Linda had already become the first great photographer in rock history, pioneering an intimate, direct style that humanized its bright lights and consigned the formal portraits of the record label’s in-house shooters to the dustbin. It is work that, finally, in recent years, has been allowed to glow as the star trove that it is, eclipsing her much-derided designations as Yoko With A Tambourine, A Pig With Wings, or whatever other lame tag the hacks in the rock press felt like hanging on her. Recent showings of her work in America, Europe, even South Korea continue to celebrate her instinctual knack for showing the human inside the star. And none of it was by the book.
She didn’t ignore the rules; she simply didn’t know they existed. She never had a formal studio, shopping for backgrounds and locales on the fly. She never used flash, ever, believing that it was bulky and off-putting. She attended exactly one class on photography, was told she had talent, and never went back for lesson two. She gave away original negatives of her top shots to friends, finding herself with nothing to sell to publishers except the “shoves”, lesser takes which, somehow, were still better than what everyone else was doing with this crazy longhair music.
What kind of photographer was this? Linda never posed people, forgot to re-calculate the ASA (ISO) settings when switching from color to black and white, sent the magazines blurred concert shots. And despite her never joining the ranks of the camera-ly cultured, the true souls of the Rolling Stones, The Doors, The Yardbirds, Jimi, Janis, Dylan, and, most notably, the Beatles shone forth in her grainy frames. Linda Eastman McCartney captured the dawning genius in them all, before the crank-up of the hype machines, before the twilight of the vultures, before rock careened from the summer of love to the winter of our discontent.
After Paul, the images were family candids, and yet the vision shone forth, most famously in her shot of baby Mary peeking out of her Beatle daddy’s jacket on a morning stroll, the rear-cover photo for the McCartney album in 1970. From that point on, the farm and the fam were everything, the road and the tour bus, not so much. She chose to settle for being Mrs. Paul, the girl who couldn’t sing but who hitched a ride on one of the biggest pop rockets of the ’70s. Decades later, what her eye saw way back then seems inevitable, her work the official chronicle of so many moments that mattered. Linda left us in 1998, but she left us that eye. It is a smiling eye, an innocent one, and one which was magnificently focused on the stuff of dreams.