By MICHAEL PERKINS
WE’VE SPOKEN A FEW TIMES HERE about the snapshot mentality, that hard-wired sense of urgency that seems to accompany nearly all picture-making….the flashing red light that screams Hurry. Get the shot. It’s a nagging feeling that we’re missing something great, that we’d better stop wasting time and start clicking. This hair-on-fire sensation may have come originally from cameras that were too slow or clumsy to operate, resulting in many lost opportunities. Then, as both cameras and film became more responsive, the idea that we could crank off a frame almost as quickly as the action of a special event spurred us on even further. Many generations and millions of personally precious occasions later, we almost always shoot on instinct. It takes practice and deliberation to slow down and actually plan a shot.
But the world is not composed solely of kids blowing out birthday candles or Bob being surprised by his retirement party, and there will always be times when, as far as photography is concerned, there is literally no big rush. Thing is, we have to retrain ourselves to sense what those moments are, and enjoy the luxury of being able to linger, even to leave, come back, reconsider, and re-shoot in an attempt to get the additional dimension that only comes from taking one’s time. This is an increasingly difficult habit to form, since we have so long married the instantaneous or fleeting quality of many situations to the way we take pictures. People who think too much about this kind of stuff have sold scads of books with the words contemplative or mindfulness in the title, but it really is just about slowing down long enough to let ideas percolate, for better pictures to emerge.
It is certainly true that technology has allowed us to make acceptable pictures of nearly anything, our cameras taking many decisions (including careless ones) out of our hands, trying, in essence, to anticipate what we probably “want” and attempt to give it to us. The aggravation of what results when we turn over the keys completely to these brilliant but non-intuitive machines, the gap between what it serves us up and what we truly seek, is the reason behind the blog you’re reading right now. The Normal Eye is dedicated to those times we wean ourselves off auto-settings, electing to both ask and answer our own questions, relegating the camera to its proper status….that of a servant. Part of the taking back of that control is placing yourself in situations where it’s okay, even optimum, for you to just simply cool your jets and think.
The frame you see here is #18 out of twenty shots taken toward a busy suburban road as seen from a roadside pond. The surface of this small lagoon is usually filled with concentric ripples from a centrally located fountain which is nearly always turned on, so in many cases, I could not dream of the reflections seen here. That idea alone was enough to make me pull off the road and park. Several of my first tries were framing disasters; a couple of others were taken from an opposite angle and contained too much clutter: and then there was this one, which was preceded by several in which the road was just crammed with late afternoon traffic. Frustration was mounting. I wasn’t getting what I wanted. Indeed I wasn’t sure I even knew what I was going for.
But then the lightbulb moment. This scene was going to remain stable for a while. Nothing could be lost by quitting the scene for a few minutes and approaching the whole thing with refreshed concentration.
I took a walk.
Five minutes had, indeed, made a difference in the intensity of the local traffic, which, in turn, gave me an idea for something that the picture could be about, as I saw a lone bus approaching from the leftward edge of my peripheral vision. Suddenly I had just enough context to at least imply a story. Whereas dozens of vehicles were just visual litter, a single bus could anchor the picture, add scale to the scenery, or at least tell the eye where first to focus. Ironically, I had a “snapshot’s” worth of decision time in which to snap the shutter before the bus passed out of frame, so, even though I had taken extra minutes to get the shot I wanted, I only had seconds to recognize that it had arrived. In the final analysis, I would have had, at least in my own mind, much less of a picture if I had settled for the first, perfectly adequate rendering of the scene. I had benefited by not having to make up my mind in an instant. Contemplative? Mindful? Who knows? To me, it’s just enjoying the luxury of those instances in which I can afford To. Just. Wait.