By MICHAEL PERKINS
IT’S BEYOND POINTLESS TO PREACH OF “PURITY” when it comes to photographic technique, although the argument springs up whenever the idea of manipulation comes up. It’s not even a new squabble. No sooner had science given the world a way to record reality with a machine than artists began tweaking, twisting, and torturing effects out of the camera that could only be done by deliberate intervention. So much for reality. In fact, photography’s first half-century boasts a rainbow of spectacular effects, undertaken precisely to undermine or improve upon the real world.
No, it’s about a century and a half too late to worry about whether people will alter their photographs and high time we explored what kind of manipulations are best for the overall impact of an image. I personally prefer to “photoshop the moment”, or to calculate what I need in a picture during the taking of it. I truly feel that, in most post-shutter tweaking, you lose an intangible something that might have made real magic if factored into the same-time making of the picture. The best thing about planning is, it gets easier to get better effects from simpler things, things that seem to work better for the picture if you design them into the shot rather than adding them later.
Take the ridiculously obvious tweak done in the above picture. 90% of the final photo here is in the composition of the shot, framing the entrance of this wonderful old house in the arch of its outer gate. The sunlight is perfect for the back two-thirds of the picture, but, given the position of the sun in late afternoon on that particular street, my first shot tended to render the arched topiary very dark, nearly a silhouette. Thing is, I really wanted the entire image to have a kind of fairy tale quality. I needed an intervention.
Easy fix. I walked back a few steps to make sure that my flash was just powerful enough to pop a hot green into the arch, yet too faint to illuminate anything else. As a result, the color you see here is not goosed up after the fact. I exposed for the house in the background and the fill flash made the foreground hues as bright as the stuff in back. Again, as planning goes, thus wasn’t the D-Day invasion. I just needed to make one simple change to solve my problem, and the fact that I did it during the original making of the picture made me feel like I was in charge of the project to a greater degree.
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.