By MICHAEL PERKINS
THE HOLIDAY SEASON MAY OFTEN SEEM TO HAVE “OFFICIAL” COLORS, (red, green, etc.) but its unofficial colors reside primarily, and gloriously, in memory. Given how many iterations of photography span most of our lives, our minds tend to twist and tweak colors into highly individualized chromatic channels. Are your most treasured moments in ’50’s Black and White? ’60’s Kodachrome? In the time-tinted magentas of snaps from the 70’s? In blue-green Super 8 Ektachrome or expired Lomo film? Or do you dream in Photoshop?
This is personal stuff, very personal. It seems like we ought to agree universally on the “correct” colors of the season, but, given that our most precious holiday moments are preserved on various archival media, it might be our memory of seeing these events “played back” that is stronger than our actual remembrance of them. As Paul Simon says, everything looks worse in black and white, or in this case, what really happened pales in comparison to our print, Polaroid, movie and slide souvenirs.
This means that there are a million subliminal color “cues” that trigger memory, and not all of them come from “correctly” exposed images. Color is mood, and seasonal pictures can benefit greatly from the astounding range of processing tools suddenly available to everyone. Not all photographs benefit from apps and digital darkroom massages, for sure, but their use is perhaps more seductive, in this mental mid-point between reality and memory than at other times of the year. Fantasy is in play here, after all, and fantasy has no “right” hue. Dreams are too vast a realm to be confined to the basics, so ’tis the season to dip into a wider paintbox.
Memory needs room to breathe, and the photographs that help them fully fill their lungs become the gifts that keep on giving.
By MICHAEL PERKINS
I RECENTLY CAME ACROSS AN ARTICLE IN WHICH A PHOTOGRAPHER BEMOANED the insane volume of images being shot in the digital era. His point was that, while we used to be tightly disciplined in the “budgeting” of shots back in the days of film (in which we had a fixed limit on our shots of 24 or 36 frames), we crank away an infinite number of shots today in short order, many of them near duplicates of each other, flooding the universe with a torrent of (mostly) bad pictures. Apparently, he posits, it is because we can shoot and re-shoot without fear of failure that we make so many mediocre images.
He takes it further, proposing that, as a means of being more mindful in the making of our photos, that we buy a separate memory card and shoot a total of, say, two “rolls” of pics, or 72 total images, forcing ourselves to keep every image, without deletions or retakes, and live with the results for good or ill. I have all kinds of problems with this romantic but basically ill-conceived stunt.
Our illustrious writer and I live on different sides of the street. He seems to believe that the ability to shoot tons of images leads to less mindful technique. I believe the exact opposite.
When you are free, via digital photography, to experiment, to correct your errors on the fly, you suddenly have the ability to save more shots, simply because you can close in on the best method for those shots much faster, and at a fraction of the cost, of film. You collapse a learning curve that used to take decades into the space of a few years. One of the things that used to separate great photographers from average ones was the great shooters’ freedom, usually from a financial standpoint, to take more bad (or evolving) images than the average guys could afford to. Of course, really bad photographers can go for years merely continuing to take more and more lousy shots, but the fact is, in most cases, taking more photos means learning more, and, often, eventually making better pictures.
Apparently, our illustrious writer believes that you can only be photographically self-aware if you are constantly reminded how few total frames you’re going to be able to shoot. I truly appreciate the goal of self-reliant, experience-based photography he wants to promote. But I contend that it’s not that we make too many pictures, but that we keep too many. It’s the skill of editing, that unemotional, ice-cold logic in deciding how few of our pictures are “keepers”, that is needed, not some nostalgic longing for the strictures of film.
Hey, of course we over-share too many near-identical frames of our latest ham sandwich. Of course Instagram is as clogged as a sink trap fulla hair with millions of pictures that should never see the light of day. But that’s not because we can shoot pictures too easily. It’s because we don’t grade our output on a stern enough curve. As it gets easier to shoot, it should get tougher to meet muster.
By MICHAEL PERKINS
PHOTOGRAPHY USED TO LITERALLY BE A MATTER OF MATH. Formulating formulae for harnessing light, predicting the reactivity of chemicals, calculating the interval between wretched and wonderful processing. And all that math, measured in materials, apprenticeship, and learning curves, was expensive. Mistakes were expensive. The time you invested to learn, fail, re-learn, and re-fail was expensive. All of it was a sustained assault on your wallet. It cost you, really cost you, in terms a math whiz could relate to, to be a photographer.
Now, the immediacy of our raw readiness to make a picture is astounding. Well, let’s amend that. To anyone picking up their first camera in the last thirty years, it’s pretty astounding. For those who began shooting ten years ago, it’s kinda cool. And for those falling in love with photography now, today, it’s……normal. Let’s pull that last thought out in the sunshine where we can get a good look at it:
For those just beginning to dabble in photography, the instantaneous gratification of nearly any conceptual wish is normal. Expected. No big deal. And the price of failure? Nil. Non-existent. Was there ever a time when it was a pain, or an effort just to make a picture, you ask Today’s Youth? Answer: not to my knowledge. I think it and I do it. If I don’t like it, I do it again, and again, faster than you can bolt down a burger on a commuter train. It’s just there, like tap water. How can I not be, why should I not be, absolutely fearless?
To take it further, Today’s Youth can learn more in a few months of shooting than their forebears could glean in years. And at an immeasurably small percentage of the sweat, toil, tears and financial investment. They can take a learning curve of rejected photos and failed concepts that used to be a long and winding road for pa and grandpa and compress it into a short and straight walk to the mailbox. And they are not sentimental, since they will not be spending enough time with any technology of any kind long enough to develop a weepy attachment for it, or for “how things used to be”. DSLR? Four-Thirds? Point and Shoot? Hey, anything that lets them take a picture is a camera. Make it so they can flap their eyelash and capture an image, and they’re in.
For some of us, hemmed in by experience, the limits of our technical savvy, and yes, our emotions, photography can be a somewhat formal experience. But for the many coming behind us, it’s just a reflex. A wink of the eye. Any and everything is an extension of their visual brain. Any and everything leads to a picture.
These new shooters will stop at nothing, will quake at nothing, will be awed by nothing, except ideas. They will be bold, because there is no reason not to be. They will take chances, since that, from their vantage point, is the only logical course. Photography is dead, long live photography.
The great awakening is at hand.