By MICHAEL PERKINS
MOST DISCUSSIONS ABOUT PHOTOGRAPHY begin with a body of commonly held terms, the basic and uniform names given to things. Such common ground is vital if we’re to understand each other. I can’t expect you to hand me a hammer if I ask you for a wrench. And so we base all our conversations about making images on words that mean generally the same to all of us….focus, aperture, exposure, etc. Makes sense, doanit?
And yet, over the years, we can disagree on what some of those words even mean, and that can slow down discourse.
Take the word monochrome. Most simply translated from the original Greek word monochromos, it means “having one color”, just as a monopod is a one-legged tripod. Seems a simple enough concept, and yet, in recent years, photographic journals, camera manufacturers and, Lord save us, blogs have increasingly begun to define the word as something that is color-less…that is, black-and-white. I know, seems like a really nit-picky point to raise in these complicated times of serious issues. And yet, if we allow imprecise speech to creep into our communications, we eventually get discourse which is imprecise as well.
Black-and-white, or grayscale is monochrome, but not all monochrome is black and white. The image seen here consists of varying tones of a single color, and so, strictly speaking, it is monochromatic, but is certainly not grayscale. Since photography was exclusively b&w for almost a century before films could produce a complete range of hues, we tend to think of the medium as being divided into two eras, Before Color and After Color. However, shooters who worked nearly their entire careers in grayscale, or, let’s say, a good 2/3 of an Ansel Adams’ lifespan, black-and-white was not “colorless” but a kind of color all its own, as legitimate as blue or red or whatever have you. Under the present understanding of these things, however, my image of a warm orange railway bench would be summarily tossed out of any image sharing site that defined itself as monochrome-themed. And that would be wrong.
Yes, I know……
Can’t you think of anything else to obsess over on a Sunday morning, old man?, I hear you moaning. Well, yes, yes I can. However, a 400-word treatise on why my poached eggs were runny at breakfast wouldn’t exactly leave readers riveted either, so, for the moment, let’s not call a wrench a hammer, and let’s not pretend that only grayscale is monochrome.
By MICHAEL PERKINS
VISITOR ATTRACTIONS CREATE THEIR OWN KIND OF PECULIAR GRAVITY, in that many of them develop an “official” way to take in their delights, pulling you toward what they believe to be the center of things. From the creation of tourist maps to the arrangement of signs on paths, many famous “places to see” evolve systems for how to “do” parks, recreation areas, even ancient ruins. Some hot spots have even been so obvious as to mount signage right next to the “Kodak moment” view that, of course, you will want to to snap, since everybody does. And from here, folks, you can clearly see the royal castle, the original temple, the stunning mountain vista, etc., etc.
But predictability, or an approved way of seeing a particular thing, is the death of spontaneity, and certainly a danger signal for any kind of creativity. Photography is the visual measure of our subjective experience. It’s supposed to be biased toward our individual way of taking a thing in. Grading our reactions to visual stimuli on the curve, taking us all down the same path of recommended enjoyment, actually obviates the need for a camera. Just freeze the “correct” view on the gift store’s postcard assortment, and, presto, we can all have the same level of enjoyment. Or the same low point of banality.
Recently I visited the amazing Butchart Gardens, a botanical bonanza on the island of Victoria in British Columbia. If ever there was a place where you’d be tempted to tick off “the sights” on a mental checklist, this cornucopia of topiary choreography is it, and you will find it truly tempting not to attempt your “take” on its most photographed features. But an experience is not a triptych, and I found my favorite moments were near the fringes or niches of the property, many of which are as stunning as the most traveled wonders along the approved paths.
To my great surprise, my favorite shot from the tour wasn’t one of the major sites or even a color image, but a quick glimpse of a young girl hesitating in the narrow, arched portal that separated one side of an enormous hedge from the other. She only hesitated for a few seconds before walking into the more traveled courtyard just adjacent, which is, itself, recorded thousands of times a day. But that brief pause was enough. She had become, to me, Alice, dawdling on the edge of a new Wonderland. The arch became all mystery to me, but the picture needed to be simplified to amplify that feeling, relegating the bright hues to secondary status. And while it indeed seems counterintuitive to take a black and white image in the midst of one of the world’s great explosions of color, I gladly chose the mono version once I had the chance to compare it to the original. Some things just work.
One thing that never works is trying to make your personal photographs conform with what the designer of a public place has recommended as the essential features of that place. Your camera is just that….your camera. Shoot with someone else’s eye, and you might as well just frame the brochure.
By MICHAEL PERKINS
PHOTOGRAPHERS PROBABLY HAVE TO HAVE AT LEAST SOME IDEA OF WHERE THEY’RE HEADED in pursuit of an image, or else basic issues like, Where To Point The Car or Which Path To Take can’t be settled. And there is, even for the instinctual process of creation, something to be said for a basic plan. However, every photographer has experienced the wonder of finding oneself arrived at a great picture-making opportunity when, in fact, you were headed someplace completely different. It’s in such moments, places where Plan A becomes Plan B, C, or D, that the excitement happens.
After you capture an image that essentially works, your mind naturally comes to take ownership of it, just as if that picture were your original intention. But this seldom occurs. Pictures aren’t like Grab-And-Go sandwiches, and very few are just waiting there, fully formed, until you wander by and imprison them in your box. Our final choices for photographs are often the destination in a ride with many stops along the way. We might have come to do this, but we wound up modifying, even abandoning our first instinct to get this instead.
The above image is a textbook example of this process. The gorgeous sunset clouds seen here were originally to be the entire composition. The general rule is that skies, by themselves, are usually not sufficiently interesting to be the solo star in a photo, but the light and texture of this particular dusk had convinced me that a minimalist shot might just be possible. However, one of my first framings caught an octotillo shrub in its lower right corner, and that new information sent the picture off in a different direction.
Re-framing to bring the shrub into the entire lower half of the shot and silhouetting it against the sky gave the framing both a sense of scale and depth, and I began to convince myself (moving on to Plan B) that this now two-element picture would be The One. Then a single starling made a landing at the upper right corner of the ocotillo, creating a more obvious initial point of contact for the eye. The viewer would engage the most familiar part of the picture, the bird’s body, then travel leftward to the ocotillo’s jagged tangles, and backwards to the textured sky. Final Plan: C….a three-element image in which the individual parts seemed, at least, to talking with one another.
In the pages of The Normal Eye I keep coming back to this idea of “planned accidents”, or shots that start in one direction and end in another, because the process, once you allow yourself to go with it, can lead to images which, eventually, seem inevitable, as if they never could have been any other way. And those are the ones you keep.
By MICHAEL PERKINS
THERE SEEMS TO BE A BIAS IN WHAT WE CALL STREET PHOTOGRAPHY that leans toward monochrome images, as if black and white were somehow more emotionally honest, maybe even more reportorially accurate as regards social commentary. I suppose this preference borrows a bit from the fact that journalism and photographic critique sort of grew up alongside each other, with black-and-white news coverage pre-dating the popular use of color by several decades. However, since color has become the primary, rather than the secondary choice for most photographers over the past forty or so years, there may be no leader or “winner” between bright and subdued hues, no real rule of thumb over what’s more “real.” Street, and the tones used to convey it, are in the eyes of the beholder.
There must be dozens of images that I myself take in color each year, that, upon later reflection, I re-imagine in mono. Of course, with digital imaging, it’s not only possible but probably smart to make one’s “master shots” in color, since modern editing programs can render more in the way of black and white than mere desaturation. Just sucking the color out of a shot is no guarantee that it will be more direct in its impact, and may actually drain it of a certain energy. Other times, taking out color can streamline the “reading” of a photograph, removing the distraction that can occur with a full range of tones. The only set answer is that there is no set answer.
In the film era, if you loaded black & white, you shot black & white. There was no in-camera re-think of the process, and few monochrome shots were artificially tinted after the fact. Conversely, if you loaded color, you shot color, and conversion to mono was only possible if you, yourself were expert in lab processing or knew someone who was. By contrast, in the digital age, there are a dozen different ways to reconfigure from one tone choice to another in seconds, offering the chance for anyone to produce almost limitless variations on an image while the subject is there is front of them, ripe for re-takes or re-thinks.
None of these new processes solve the ultimate problem of what tonal system works best for a given picture, or when you exercise that choice. However, the present age does place more decision-making power than ever before in the hands of the average photographer. And that makes street photography a dynamic, ever-changing state of mind, not merely an automatic bow to black-and-white tradition.
By MICHAEL PERKINS
ONE OF THE MOST GRAPHIC DEMONSTRATIONS OF THE DIFFERENCE BETWEEN YOUR EYE AND A CAMERA’S occurs by accident for most photographers, with variations in the reading of white balance that make the colors in an image look “wrong”. While our own vision looks at everything in the world from light blues to medium greys and instantly converts them all to “white”, the camera makes looks at all those variants and makes what can be called its best guess.
All light has a temperature, not a measure of heat but an index of which colors combine to deliver hues of a certain intensity and range, and white balance helps photographers manage color more effectively. Film shooters, especially those using sophisticated flash technology, eventually develop an instinct as to which kind of light will deliver the hues they seek, but, as the digital era tracks onward, many more of us simply rely on our camera’s auto settings to deliver a white that strikes us as “correct”. And when auto white balance fails to deliver the goods, we can override it and select other settings that compensate for incandescent light, shade, cloudy skies, and so forth. We can also create a completely custom white balance with little fuss. Think Dad looks better with a green face, like the true extra-terrestrial that he is? It’s at your fingertips.
The fun starts when you use white balance to depart from what is “real” in the name of interpretation. WB settings are a fast and easy way to create dramatic or surreal effects, and, when you have enough time in a shoot to experiment, you may find that reality can be improved upon, depending on what look you want. In the top image, taken during a long, lingering sunset at sea, I had plenty of time to see what my camera’s custom WB settings might create, so I bypassed standard auto WB, then amped up the reds in the sky by clicking over to a shade setting, resulting in a deep and warm look.
For the second shot of the same scene, I wanted to simulate the look of a sky just after sunset, when the blues of early evening might take over for the vanished sunlight, even providing a little radiance from a pale moon. One click to the setting and you see the result. Now, of course, I’ve just switched from one simulation of reality to another, but playing with WB in a variety of lighting situations can help you tweak your way to fantasy land with no muss or fuss.
Tweaking white balance is basically lying to your camera, telling it that it is not seeing what it think’s it’s seeing but what you want it to think it sees. You’re the grown-up, you’re in charge. “White” is what you say it is. Or isn’t.
By MICHAEL PERKINS
THE SHEER NUMBER OF PHOTOGRAPHERS IN THE WORLD pretty much insures that not too many of us are artistically, um, unique. If there was ever a time in the history of the medium when it was nearly impossible to develop a style free of influence (good or bad), it’s now.
That doesn’t make originality impossible. But it does mean that, when one of us evolves a new way of doing things, the speed of adoption means there’s about a half a global second before innovation becomes cliche. And the worldwide online community likewise switches its evaluation of an idea from “brilliant!!” to “hackneyed” within an ever shorter cycle.
One of the tricks that only really came to the fore in the early days of digital editing is the look of selective de-saturation of color. The technique was originally met with great enthusiasm, but to hear the wags that whine and howl around the web, you should now sooner be caught dead rather than use it.
Only, it’s not a given technique, per se, that becomes a drag, only its over-use or abuse. Think of canvas art for a moment. No one ever complains that “everybody uses oils to paint!” because it ain’t the pigment that separates the greats from the grunts. It’s what you do once you pick up that brush.
I steer away from partially desaturated shots because, while they can be real attention -getters, I myself don’t encounter many instances where I feel that they will actually help one of my pictures work better. The choice between monochrome and full color is, itself, fraught with a lot of mental measurement, meaning that you have a 50/50 chance in the making of an image to choose the wrong way to make it. Then there are color to b&w conversions, some of which really destroy the power of a photo. All this is before we get into the rather exotic decision of whether to make a picture “part” color.
Let’s say that there’s something to be gained by killing off all but the signature Manhattan cab yellow, as seen in the top image of NYC’s Union Square. Okay. It’s certainly technically easy to bring that off, but first you have to get beyond the initial “hey, that’s cool” sensation and ask, very critically, “what else am I giving away to nearly eliminate all the color in this image? Is the color of the dusky sky worth anything? How about the red glow of neon, the amber of lit windows, the darkening skin and fabric tones of passersby?
Lots of techniques fall or rise on whether they add or subtract from the image’s overall selling power. You have to learn when and where to do what…and to know why.
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
I CONDUCT TOURS FOR KINDERGARTEN STUDENTS AT PHOENIX’ MUSICAL INSTRUMENT MUSEUM, the world’s largest collection of its kind on the planet. Frequently, I ask my young guests, who are viewing various animal-inspired music exhibits in the Asia gallery, why the sculpted lions seen on South Korean chimes are blue. Now, in fact, there are no lions in Korea, so in summoning the big cat’s strength and courage as a protective symbol for their music, the locals probably had to try to imagine one, including its features and hues. But pose this question to a five-year-old and the answers are far more instinctual:
“They wanted to”.
“Cause it looks cool that way”.
“It’s their lion…they can do what they want.”
Never do these children suggest that the lion is blue because the Koreans don’t know the “correct” color, nor do they think that there’s anything about its color that renders it “inaccurate”. And when I ask if they’ve ever used a “different” crayon to color something just the way they want it, every hand shoots up. Of course. Why wouldn’t I?
It’s my coloring book. I can do what I want.
Early color photography was about reproducing nature faithfully, accurately recording and reproducing reality. That makes sense, since you must have a standard before you can wander away from that standard. And at a time when color imaging was a novelty, science understandably put the emphasis on “getting it right”, which for publication and printing purposes, was a big enough mountain to climb, at first.
However, we have long since entered a phase in which the colors which nature or our eyes have assigned to an object is only one way, not “the” way to creatively depict it. We can use color counter-intuitively, emotionally. We can cast an image in every aspect of the rainbow, not merely within the narrow channel of “reality”. Color interpretation is surely as important as exposure or any other aspect of making a picture. In the above photo, my mind needed this old row house to be drenched in the burned gold of sunset. Since I was shooting at one in the afternoon, that wasn’t going to happen, so….
And if we forget to think with a child’s suppleness as we age into old habits, the next generation is always there to prod us back into the same state of wonder that makes a five-year-old perfectly okay with creatively colored animals. Recent retro movements among shooters, for example, include the simulation of improperly processed film, which is an optional filter on many of today’s phone apps. It’s a deliberate choice to take the quirky color caused by a lab error and turn it into an interpretive tool.
The over-arching rule here is: try it and see what happens. You don’t need to defend your choice to a committee or write a lengthy treatise (like this one) on why it’s justified.
You just have to wonder what a blue lion might look like.
By MICHAEL PERKINS
I VOLUNTEER AT A MUSEUM WHICH SERVES, IN LARGE PART, SCHOOL TOURS. And, in trying to explain the color choices made by varying cultures on the depiction of everything, from flowers to animals, I frequently ask my groups if anyone has ever colored something with a “different” crayon. Not “the wrong color”, just a different crayon, a choice resulting in a purple squirrel or a brown rose. I usually get at least a few “yeses” on the question, and, when I probe further as to what went into their decision, I almost always get one child who says, simply, “I just like it that way.”
At this point, I realize that at least one person in every mob will always be thinking of color as a choice, rather than as a right/wrong answer. In my early school days, teacher often handed out the same mimeographed picture to all thirty of us, expecting all thirty to produce precisely the same results: green grass, blue skies, yellow honeybees. Strangely, we kind of expected the same of ourselves. It was comforting to hand in a “correct” piece of art, something guaranteed to please, a safe shortcut to a gold star.
In photography, we start as witnesses to color, but should never remain slaves to it. The present generation of shooters, born and bred in iPhone Land, know that changing your mind and your thinking on color is just an app away, and why not? The same force that has finally democratized photography worldwide is also legitimizing any and every kind of artistic choice. With billions of uploads each day, uniformity of style is worse than a lifelong gig as a worker ant, and as uninteresting.
Color is as big a determinant in interpretation as any other choice that a photographer makes, and can result in subtle shaping of the mood of your work. The above tree was originally captured in natural color, but I thought the overall design of the tree was served by one tone fewer, so I reworked everything into three values….blue, green, and black. I believe that the central trunk hits with more impact as light and dark shades of emerald, and the conversion of the pine needles to a more severe shade gives me some of the directness of monochrome. Of course, you might reach a completely different conclusion, but we’re beyond right or wrong here, aren’t we?
The mimeograph is dead, and with it, solid notions of color assignment. Fewer rules means fewer obvious signposts, but that’s why there’s more than one crayon in the box, innit?
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.
By MICHAEL PERKINS
COLOR, IN A PHOTOGRAPH, IS OFTEN THOUGHT OF IN OVER-SIMPLIFIED TERMS, as if there were one even tone to every part of everything we capture, what I call the “paint roller” school of thought. One of the reasons color was so long in development in the film era was because it had to become accurate at measuring the myriad inconsistencies in the hues of objects. Consider the wide range of pinks, reds, even blues in the contours of a single human face. There is no “flesh” color outside of a box of Crayolas, and color photography has evolved over time to deliver the real, if tricky, inch-to-inch changes in the tone of every kind of surface.
Skin or wood, plastic or metal, color changes frequently over the surface of an object, and good photographers learn how to get stunning effects through application of that principle. One subject which can deliver dramatic results with little effort is the urban building, primarily the metal urban building. Many of the metals used in construction are actually alloys, and so they already contain color elements of their constituent ingredients.
I try to shoot alloys in fairly indirect light, as this amps up the shimmer and gloss of their surfaces in a way straight-on lighting tends to bleach out or subdue. I also set my camera for whatever “vivid” color setting it allows, since more color information means more clear reproduction of the subtle changes in tone from, say, one end of a section of metal to the other. In post-production, I will often play with contrast and temperature to enhance whatever I want to present in the image’s overall color mood.
Metal can run the gamut from grey to blue to green to pure white, and learning how to place those shades where you want them can add dimension to your photos.
By MICHAEL PERKINS
COLOR, IN REAL LIFE DOES NOT RESEMBLE SOMETHING FLATLY FILLED IN BY A CRAYON. Light never plays across surfaces in an even, unbroken tone, so, in a photograph, there really is no such thing as a “blue” wall, or a “brown” floor. Both the wall and the floor contain endless varieties and gradations of their general hue, changing inch to inch, atom by atom. Wonderfully, photography has been on a continuous upward curve over time to record these variances with better and better fidelity. As a result, we don’t just shoot tone, we shoot texture.
One way to heighten the registry of those textures, those colors-within-colors along a surface, is to vary the amount of light that hits it at different points. There’s a reason why Rembrandt and other masters of the “Dutch-lit” school used minimal or irregular light to illuminate their subjects. Light playing unevenly over fruit and the human form was simulated in their paintings by pigment colors that shimmered and smoldered: had they painted colors in a flat, uniform tone it would have read as dull as dishwater and Rembrandt and the other little daubed Dutch boys would have had to get day jobs.
In photographs, sometimes texture emits such a powerful visual impact that it’s enough to carry an entire image with little or no other subject matter. In the above picture, watching the window light at the right of the frame decay gradually as it “walks” across the distressed wall actually speaks louder than the solitary couple at the upper-right-hand corner. In such a picture, the wall becomes all, the changing colors highlighting small detail in the concrete and brick.
As usual, I learn a great deal by looking at how other people address this phenomenon. There are so many astounding ways to harness even a small bit of light via photography as it exists right now, and the best thing is, things will only improve from here, for anyone shooting at any level.
By MICHAEL PERKINS
THE FIRST COLOR PHOTOGRAPHS REALLY…WEREN’T. That is to say, the various recording media, from glass plates to film, were technically incapable of rendering color, leaving entrepreneurial craftsmen (mostly post card artists) to lovingly apply hues with paint and brush. It was the Fred Flintstone version of Photoshop, and, boy howdy, did it sell, regardless of the fact that most flesh tones looked like salmon and most skies looked more eggshell than azure. Until the evolution of a film-based process near the end of the 19th century, these watercolor pastels stood in for the real thing.
Winter’s months-long overcasts and grey days can remind a photographer of what it was like to only be able to capture some of the color in a given subject, as the change in light washes the brilliance out of the world, leaving it like a faded t-shirt and creating the impression that color, as well as botany, goes into the hibernational tomb during winter.
Of course, we can boost the hues in the aftermath just like those patient touch-up artists of the 1800’s, but in fact there are things to be learned from rendering tones on the soft pedal. In fact, reduced color is a kind of alternate reality. Capturing it as it actually appears, rather than amping it up to neon rudeness, can actually be a gentle shaper of mood.
Light that seeps through cloud cover is diffused, and shadows, if they survive at all, are faint and soft. The look is really reminiscent of early impressionism, and, when matched up with the correct subject matter, can complement a scene in a way that a more garish spectrum would only ruin.
Just like volume in music, color in photography is meant to speak at different decibel levels depending on the messaging at hand. Winter is a wonderful way to force ourselves to work out of a distinctly different paint box.
By MICHAEL PERKINS
—-That country where it is always turning late in the year. That country where the hills are fog and the rivers are mist; where noons go quickly, dusks and twilights linger, and midnights stay. That country composed in the main of cellars, sub-cellars, coal-bins, closets, attics, and pantries faced away from the sun. That country whose people are autumn people, thinking only autumn thoughts. Whose people passing at night on the empty walks sound like rain.—–Ray Bradbury
AUTUMN IS SNEAKY IN THE SOUTHWEST. Much of the low desert regions may never betray the transformation that is rotating the color wheel in most of the rest of the world, and then, suddenly, there is the shock of red, the blaze of orange, the yellow of golden apples. Many of our trees do not shed, and there are parts of Arizona, California and New Mexico where you could snap a landscape and challenge anyone to guess in which month it was taken. But, as I say, there are surprises.
There are fruits that fall and go back to the earth. There are strange and alien breeds of gourd popping up as invaders at farmers’ markets. And with these visitations come remembrance, and the chance for the camera to recall all the unrealized dreams, misty dawns, evening cold snaps and afternoons of quiet contemplation that accompanies fall so hypnotically in the rest of the country. We here in the southwest have our autumn reverie doled out in small spoonfuls, but it penetrates just the same. The shadows grow longer. The memory uncorks its vintages. The world turns, and there is that slow rhythm of life winding down.
I only long for my midwestern roots but briefly each year. I can still feel the earth turning when some inner clock tells me it’s time. Sometimes I can’t look out my window and find evidence of what my atoms know to be true. And sometimes I get a moment to steal.
That’s what cameras are for. To remind us how to be, at least in glimpses, autumn people.
By MICHAEL PERKINS
TAKE ENOUGH PHOTOGRAPHS AND YOU WILL DEVELOP YOUR OWN SENSE OF “SIMPLICITY”. That is, you will arrive at your own judgement about how basic or complex a composition you need in a given situation. Some photographers are remarkable in their ability to create images that contain a mad amount of visual information. Some busy city scenes or intricate landscapes benefit wonderfully from an explosion of detail. Other shooters render their best stories by reducing elements to a bare minimum. And of course, most of us make pictures somewhere in the vast valley between those approaches.
I’m pretty accustomed to thinking of overly-busy pictures as consisting of a specific kind of “clutter”, usually defined as cramming too many objects or people into a composition. But I occasionally find that color can be a cluttering element, and that some very visually dense photos can be rendered less so by simply turning down hues, rather than rooting them out completely. Recently I’ve been taking some of the pictures that seem a little too “overpopulated” with info and taking them through what a two-step process I call a color compromise (patent not applied for).
First step involves desaturating the picture completely, while also turning the contrast way down, amping up the exposure and damn near banishing any shadows. This almost results in a bleached-out pencil drawing effect and emphasizes detail like crazy. Step two involves the slow re-introduction of color until only selected parts of the image render any hues at all, and making sure that the color that is visible barely, barely registers.
The final image can actually be a clearer “read” for your eyes than either the garish colored original or a complete b&w. Objects will stand out from each other a little more distinctly, and there will be an enhanced sensation of depth. It also suggests a time-travel feel, as if age has baked out the color. A little of this washed-out jeans look goes a long way, however, and this whole exercise is just to see if you can make the picture communicate a little better by allowing it to speak more quietly.
Compare the processed photo at the top, taken in the heart of the visually noisy Broadway district, with its fairly busy color original and see if any of this works for you. I completely stipulate that I may just be bending over backwards to try to salvage a negligible photo. But I do think that color should be a part of the discussion when we fault an image for being cluttered.
By MICHAEL PERKINS
I FIND IT AMUSING THAT THERE IS SO MUCH PRISSY FRETTING, in the present photographic age, about the manipulation of images, as if there is, or has ever been, a “pure” photography that comes full-born from the camera like Athena sprang from Zeus’ forehead. This is, of course, nonsense.
There never was a time when photographers simply pressed the button and settled for whatever dropped into their laps by chance. The history of the medium is a clearly traceable timeline of the very interpretive technique and, yes, manipulation that tracks, like this blog, the journey from taking a picture to making one.
It’s not what you apply to an image, it’s whether the application is the entire point of the picture. Does your conception have solid, original value, over which you then impose a supplementary effect or a boost in emphasis? Or are you merely popping apps and pushing buttons in order to disguise the lack of essence in picture, to whitewash a rotten fence if you will?
The reason I raise all this again is that an in-camera effect usually called “selective color”, now available on many DSLRs, has reminded me of the first days of color photography, which of course was no color at all, except that which was applied through tinting and painting after a monochrome image had been made. Depending on the individual artisan, the hues in these pictures tended to be either a soft wash of faint pastel or a raging rouge of rosy reds, but, most frequently, only selected parts of the image were colored at all, perhaps an attempt to dramatize particular elements of the composition. It was anything but natural, but, in advance of the development of actual color film, it produced some interesting results.
Jump to today’s cameras and the selective color option. You shoot your original image, select it, then zoom in on parts of it to both locate and choose up to three colors that will be featured in a copy of the image. All other tones will be desaturated, leaving you with a part monochrome, part color version of your original, which remains unchanged in a separate file. The effect, as in the past, can dramatize and isolate key parts of your picture, even giving a strange dimensional feel to the photo, but it can take some practice to get the result that you want.
For example, selecting the red of a single car on a crowded street will also catch the same red in other cars’ tail lights, the corner traffic signal, and a neon sign in a building at the end of the block, so be sure you can live with all of that. Also, in some seemingly “white” buildings, shadows or reflected light (as well as aging impurities in some materials) will show some faint shades of color in this process, so that the blue that you said okay to for the corner mailbox will also pick up slight bluish casts in the marble of the bank next door. In the above image, I also made a second, darker copy of the altered image, then blended the two copies in a tone compressing program, to further accentuate the building textures and contrasts.
Bottom line: there is black and white, there is full color, and there is the uber-cool playland in what you could call the middlehues. It’s not cheating to enhance a good picture. It’s only cheating when you use effects to mask the fact that you didn’t take the picture right in the first place.
By MICHAEL PERKINS
IGNORANCE, IN PHOTOGRAPHY, CERTAINLY IS NOT BLISS. However, exposure to that selfsame know-nothing-ness can lead to a kind of bliss, since it can eventually lead you to excellence, or at least improvement. Here and now, I am going to tell you that all the photographic tutorials and classes in history cannot teach you one millionth as much as your own rotten pictures. Period.
Trick is, you have to keep your misbegotten photographic children, and keep them close. Love them. Treasure the hidden reservoir of warnings and no-nos they contain and mine that treasure for all it’s worth. Of course, doing this takes real courage, since your first human instinct, understandingly, will be to do a Norman Bates on them: stab them to death in the shower and bury their car in the swamp out back.
I have purposely kept the results of the first five rolls of film I ever shot for over forty years now. They are almost all miserable failures, and I mean that with no aw-shucks false modesty whatever. I am not exaggerating when I tell you that these images are the Fort Knox of ignorance, an ignorance taller than most minor mountain ranges, an ignorance that, if it was used like some garbage to create energy, could light Europe for a year. We’re talking lousy.
But mine was a divine kind of ignorance. At the age of fourteen, I not only knew nothing, I could not even guess at how much nothing I knew. It’s obvious, as you troll through these Kodak-yellow boxes of Ektachrome slides, that I knew nothing of the limits of film, or exposure, or my own cave-dweller-level camera. Indeed, I remember being completely mystified when I got my first look at my slides as they returned from the processor (an agonizing wait of about three days back then), only to find, time after time, that nothing of what I had seen in my mind had made it into the final image. It wasn’t that dark! It wasn’t that color! It wasn’t…..working. And it wasn’t a question of, “what was I thinking?”, since I always had a clear vision of what I thought the picture should be. It was more like, “why didn’t that work?“, which, at that stage of my development, was as easy to answer as, say, “why don’t I have a Batmobile?” or “why can’t I make food out of peat moss?”
But holding onto the slides over the years paid off. I gradually learned enough to match up Lousy Slide “A” with Solution”B”, as I learned what to ask of myself and a camera, how to make the box do my bidding, how to build on the foundation of all that failure. And the best thing about keeping all of the fizzles in those old cartons was that I also kept the few slides that actually worked, in spite of a fixed-focus, plastic lens, light-leaky box camera and my own glorious stupidity. Because, since I didn’t know what I could do, I tried everything, and, on a few miraculous occasions, I either guessed right, or God was celebrating Throw A Mortal A Bone Day.
Thing is, I was reaching beyond what I knew, what I could hope to accomplish. Out of that sheer zeal, you can eventually learn to make photographs. But you have to keep growing beyond your cameras. It’s easy when it’s a plastic hunk of garbage, not so easy later on. But you have to keep calling on that nervy, ignorant fourteen-year-old, and giving him the steering wheel. It’s the only way things get better.
You can’t learn from your mistakes until you room with them for a semester or two. And then they can teach you better than anyone or anything you will ever encounter, anywhere.
By MICHAEL PERKINS
ONE OF THE MOST AMAZING BY-PRODUCTS OF DIGITAL PHOTOGRAPHY, a trend still evolving across both amateur and professional ranks, is a kind of tidal return to black-and-white imaging. The sheer volume of processing choices, both in-and-out-of-camera, have made at least dabbling in monochrome all but inevitable for nearly everyone, reversing a global trend toward near exclusive use of color that was decades in the making. At one point, to be sure, we chose black and white out of necessity. Then we embraced color and relegated B&W to the dustbin of history. Now, we elect to use it again, and increasing numbers, simply because everything technical is within our reach, cheaply and easily.
Looking back, it’s amazing how long it took for color to take hold on a mass scale. Following decades of wildly uneven experimentation and dozens of processes from Victorian hand-tinting to the Autochromes of the early 1900’s, stable and affordable color film came to most of us by the end of the 1930’s. However, there was a reluctance, bearing on tantrum, among “serious” photographers to embrace it for several more decades. This article from the Life magazine Library of Photography, a history-tutorial series from the 1970’s, discusses what can only be called photography’s original anti-color bias:
Although publishers and advertisers enhanced their messages with pictures in color during the first few decades of the color era, most influential critics and museum curators persisted in regarding color photographs as “calendar art”. Color, they felt, was, at best, merely decorative, suitable, perhaps, for exotic or picturesque subjects, but a gaudy distraction in any work with “serious” artistic goals.
Of course, for years, color printing and processing was also unwieldy and expensive, scaring away even those few artists who wanted to take it on. Still, can you imagine, today, anyone holding the belief that any kind of processing was a “gaudy distraction” rather than just one more way to envision an image? Color was once seen by serious photographers as an element of the commercial world, therefore somehow..suspect. Fashion and celebrity photography had not yet been seen as legitimate members of the photo family, and their explosive use of color was almost thought of as a carnival effect. Cheap and vulgar.
Of course, once color became truly ubiquitous, sales of monochromatic film plummeted, and, for a time, black-and-white found itself on the bottom bunk, minimized as somehow less than color. In other words, we took the same blinkered blindness and just turned it on its head. Dumb times two.
Jump to today, where you can shoot, process and show images in nearly one continuous flow of energy. There are no daunting learning curves, no prohibitive expenses, no chemically charred fingertips to slow us down, or segregate one kind of photography from all others. What an amazing time to be jumping into this vast ocean of possibilities, when images get a second life, upon second thought.
By MICHAEL PERKINS
PHOTOGRAPHERS ARE ADDICTED TO “INVISIBLE” STORYTELLING, to hinting at a context beyond what is actually shown in a given image. Sometimes our eyes arrive at a scene just seconds after something important has happened. Sometimes it’s just moments before. Sometimes we have to use emptiness to suggest how full something just was. And, most importantly, we need to determine if color will be a warm accompaniment to something magical, or an unwanted intruder in a scene where less is more.
Wonderfully, this choice has never been easier. Digital photography affords us the luxury of changing our strategy on the color of a shot from frame to frame in a way that film never could. It also allows us to delay the final choice of what works and what doesn’t, to live with an image for a while, and decide, further down the road, whether something needs to be re-ordered or altered, rendered either neutral or vivid. It is a great time to be a photographer. For those picking up a camera today, it must seem absurd that it was ever any other way. For those of us with a few more rings around the trunk, it can seem like a long promised miracle.
Color can be either addition or distraction to a shot, and usually you know, in an instant, whether to welcome or banish it for best effect. Two recent walk-bys afforded me the chance to see two extreme examples of this process. In the first, seen above, I am minutes too early to take in a small street circus, giving me nothing but the garish tones of the tents and staging areas to suggest the marvels that are to come. I need something beyond the props of people to say “circus” in a big way. Color must carry the message, maybe shouting at the top of its lungs. See what I mean? Easy call.
In the second image, which features a lone woman reading against a backdrop of largely featureless, uniform apartment cubes, I am off on an opposite errand. Here, I seem to be wondering why she is alone, who is waiting (or not waiting) for her, what her being in the picture means. The starkness of her isolation will never be served with anything “pretty” in the scene. The original frame, done in color, actually had the drama drained out of it by hues that were too warm. On a whim, I converted it to the look of an old red-sensitive black and white film. It gave me a sharp detailed edge on materials, enhanced contrast on shadows, and a coldness that I thought matched the feel of the image. In audio terms, I might compare it to preferring a punchy mono mix on a rock record to the open, more “airy” quality of stereo.
Dealer’s choice, but I think our photography gains a lot by weighing the color/no color choice a lot more frequently than we did in our film days. The choices are there.The technology could not be easier. Relative to earlier eras, we really do have wings now.
We just need to get used to flapping them more often.
By MICHAEL PERKINS
THERE WAS A BRIEF MOMENT, WHEN PHOTOGRAPHY WAS A NOVELTY, when it was thought to be in some kind of winner-take-all death match with painting. That fake war lasted but a moment, and the two arts have fed (and fed upon) each other to varying degrees ever since. Both painting and photography have passed through phases where they were consciously or unconsciously emulating each other, and I dare say that all photographers have at least a few painter’s genes in their DNA. The two traditions just have too much to offer to live apart.
One of my favorite examples of “light sculpting”, the artistic manipulation of illumination for maximum mood, came to me not from a photographer, but from one of the finest illustrators of the early twentieth century. Maxfield Parrish (1870-1966) began his career as a painter/illustrator for fanciful fiction from Mother Goose to The Arabian Nights. Then, as color processes for periodicals became more sophisticated after 1900, he seamlessly morphed into one of the era’s premier magazine artists, working mostly for ad agencies, and most famously for his series of magnificently warm light fantasies for Edison Mazda light bulbs.
Parrish’s Mazda ads are dazzling arrangements of pastel blues, golden earth tones, dusky oranges, and hot yellows, all punched up to their most electrically fantastic limits. Years before photographers began to write about “golden hours” as the prime source of natural light, Parrish was showing us what nature seldom could, somehow making his inventions seem a genuine part of that nature. The stuff is mesmerizing. See more of his best at: http://www.parrish.artpassions.net/
During a recent trip to the high walking paths that crown Griffith Park in Los Angeles, I saw the trees and hills, at near sunset, form the perfect radiated glow of one of Parrish’s dusks. Timing was crucial: I was almost too late to catch the full effect, as shadows were lengthening and the overhanging tree near my cliffside lookout were beginning to get too shadowy. I hoped tha,t by stepping back just beyond the effective range of my on-board flash, I could fill in the front of the fence, allowing the light to decay and darken as it went back toward the tree. Too close and it would be a total blowout. Too far back, and everything near at hand would be too dark to complement the color of the sky and the hills.
After a few quick adjustments, I had popped enough color back into the foreground to make a nice authentic fake. For a moment, I was on one of Parrish’s mountain vistas, lacking only the goddesses and vestal virgins to make the scene complete. You’d think that, this close to Hollywood, you could get Central Casting to send over a few extras. In togas.