BY MICHAEL PERKINS
Don’t lose your confidence if you slip…..be grateful for a pleasant “trip“…..
Jerome Kern & Dorothy Fields, “Pick Yourself Up”
THE UNDERSTANDABLE EXCITEMENT THAT ACCOMPANIES the acquisition of a new camera is like that experienced by the first-time driver of a finely-tuned sports car,…..i.e., let’s open this baby up and see what’ll she’ll do.
All well and good. However, for the best translation of your vision, from eye to finger to shutter, I contend that it’s more important to know what your camera won’t do. Or more precisely, to learn what you don’t know to tell it to do.
Just as we are eager to credit ourselves, and not the camera, for those shots that really work out well, we need also to shoulder our share of the blame when things fail. The camera that delivers your message perfectly is the same camera that produced the shots that deserve to line birdcages. The difference is you. Your gear is composed of servo-mechanisms. They are neither intuitive nor interpretative. Anything that smacks of aesthetic judgement or nuance is on you. Am I saying there’s no such thing as a “good” or “bad” camera? No, but those two labels should be a measure of design, function and technical parameters. Your skill can both empower a limited camera and hobble an advanced one, so talk of “good” or “bad” falls apart once a disposable creates a masterpiece or a Leica delivers garbage.
This means that, at bottom, your choice of camera matters very little, whereas the choices your eye asks the camera to execute is, simply, everything. Try as it might, the camera cannot compensate for what you didn’t know how to articulate. Finding out what your camera won’t do means learning how to respect its technical limits while trying to eradicate those selfsame limits in yourself. That means, as Paul Simon wrote, “learning how fall”. It’s a pretty good strategy, since every one of us had to learn that in order to learn how to walk.
UPractice. Be eager to fail, and to learn yourself past future failure. And eventually get to the point where you never, ever write a check your camera can’t cash. Then, and only then will you really see what that baby will do.
By MICHAEL PERKINS
THE EXCLUSIVITY AND ONE–UPMANSHIP which used to divide photographers into warring camps over lenses (it must be primes!) or cameras (I myself have always been a Leica man!) has met its match in yet another pompous arena of dubious distinction.
I’m speaking of the trendy and tawdry world of blur snobs.
You remember blur, right? All that stuff in your pictures that isn’t, you know, sharp? You wanted some of it in there to set your focused subject apart or pop it forward, so you set your depth of field appropriately. So we’re done now, right?
Wrong. Because you might not have the cool kind of blur in your pictures. Cool blur is called “bokeh”, because we said so, and its various swirls, refractions and currents means you must now master blur the way you once sought to master focus. The thing you once regarded as mere negative space is now incredibly artistic negative space. Or you’d better spend money until it is.
The world’s bokeh bullies eventually started to aggressively market glass guaranteed to deliver lots of it, for lots of dollars. The cool-blur movement revived interest in the 19th-century Petzval lenses, great, fast optics for portraits which, as a by-product of their slightly flawed design, delivered big-time swirly blur. Thing is, engineering new lenses to do that one “wrong” thing on purpose meant coughing up an astounding amount of scratch for a lens that is, essentially, a one trick pony. Repeat after me, children: hipness is never cheap.
Turns out that, instead of popping for anywhere from two to six hundred peppers for “cool insurance”, you can get the same effect from a lens that’s so globally plentiful that it can be had for under $35.00. Enter the humble Helios.
Helios lenses were among the most highly produced lenses in Soviet history, marching out of USSR factories pretty much non-stop from 1958 to 1992. They were based on several different Carl Zeiss Biotar designs, and, while mostly used on Russian SLRs, were also built for select Pentax models. One of the most popular, the 44M, seen here, was the kit lens for generations of cameras, shooting fully manual as a 58mm prime.
Shooting the Helio wide open at f/2, and with a decent separation between foreground and textured backgrounds, you’ll get a bokeh that looks like a gazillion little circles that spray into a swirl as they move toward the edge of the frame. As the rose image attests, it does look very nice, just not $600 worth of nice. You also need the patience of a brain surgeon to get used to nailing the focus. That and consistent access to large depositories of Crown Royal. But I digress.
Helios lenses are perfectly serviceable glass for general purposes, although they are a little soft at the open end. The Russian Federation, which, if you haven’t heard, is a little cash-strapped these days, is sitting on millions of these puppies, so prices are low, lenses can be easily adapted to most camera brands (mine came battle-ready for Nikon), and shipping is often free. For between 35 and 50 bucks, they’re an occasional guilty pleasure. On the other hand, hocking your houseboat or delaying heart surgery for the new toys marketed by the blur snobs to do the same thing is both needless and nuts.
By MICHAEL PERKINS
IF, AS A PHOTOGRAPHER, YOU ARE A DEDICATED RULE–BREAKER, you may view every new piece of equipment as a double opportunity….a chance to explore gear both in the way the manufacturer intended (see the user manual) and in whatever intuitive (spelled “wrong”) way you see fit (we don’t need no stinkin’ manual).
This is not as perverse as it first sounds. Shooters have been flipping telephotos backwards to create makeshift macros and partially uncoupling glass from camera bodies to “free lens” their way to selective blurring and distortion for eons. And you yourself can no doubt recount instances in which your gear has been persuaded to go off the rails to achieve some experimental end or other. Good photographers vascillate wildly between I hope I’m doing this right and I wonder what would happen if I….
One of my favorite departures from normal practice involves circular polarizing filters, typically used to either deepen the blue of skies or remove reflective glare from surfaces like water or glass. In the image at the top of this page, it’s used in exactly that way, allowing me to view a huge fishy fossil in Los Angeles’ Museum Of Natural History. In the lower image, both the vantage point and the effect of the filter are reversed: I’m looking outwards, with the CPF producing imaginary streaky artifacts on the glass, adding dramatic framing accents to the fossil and breaking up the monotony of a large patch of sky. Is this the recommended use for the filter? Nope. Does this approach work for just any picture? Nah. Am I glad to be able to produce this look at will? Yes, please.
Around the house, driving a nail with the butt end of a screwdriver can seem, well, desperate. But in photography, stretching equipment beyond its intended use can be an adventure. It’s actually freeing, as if you’re playing hooky and getting away with it.
So, when the spirit moves you, choose the right tool. Then use it wrong. But only in the right way.
By MICHAEL PERKINS
THE IMAGE SHARING GROUP UTATA, which operates within Flickr, has been, for this boy snapper, a daily touch of Christmas. It expands upon the rather pointless online quest for mere “likes” and is, instead, a genuine dialogue with other like-minded strange-o’s who want to push the boundaries of at least their own eyes and commiserate with others who long to do the same. The administrators keep Utatans united with periodic, deadline-based homework assignments organized along a a variety of seriously unconventional themes. Some require serious thought. Some can be created almost completely on impulse. And many more fall somewhere in between.
One of the nice bits of insta-fame conferred upon Utatans is having their work occasionally plugged onto the utata.org welcome page. Even better, head honcho Greg Fallis and his fellow guardians of the Utata universe will often provide new captions, poems, or essays of their own for the images, as if to tangibly demonstrate that, just as there is more than one way to see, there are a million ways to be seen. Upon recently conferring home-page status on a rather hurried celphone image I’d posted, Greg also managed to perfectly crystallize thoughts I’ve mulled over recent years:
See, here’s the thing about shooting photographs with your cell phone: it’s not a serious camera. That means you can relax. Try stuff. Shoot something different. Shoot something familiar in a different way. Shoot something different in a familiar way. It’s liberating because it’s “just” your cell phone.
In fact, the image was made in a very short space of time, shorter by far than if I’d made it with my “real” cameras. The original phone selfie was fed through an app designed to mimic both the strengths and weaknesses of antique portrait lenses, and, since I liked the ethereal quality it delivered, I decided to stop. Just stop. Stop fooling, fretting and fixing. Stop, and publish.
So, have I gotten to the point, at least some of the time, when I’m really living that old saw that “the best camera is the one you have with you?” Am I more spontaneous, more open to experiment, higher up the “wot the hell” scale when armed with a cel? Dunno. Really. Not being coy. I definitely still feel that umbilical-cord connection to my trad gear. But I dig immediate gratification as well, at least the gratification of shortening the gap between “wonder what would happen” and “hmm, that kind of worked.”
Is my conventional gear more “real”than my iPhone? Well, how do you define real? Obviously, there is an almost infinite number of post-processing tools available to compensate for whatever shortcomings the cameras themselves might possess. So, if I do advance prep in a DSLR before the shutter snap to ensure a good picture, does it disqualify an image if I snap it first and then enhance it afterwards in a cel? What is a darkroom? What is a workflow?
Big questions. And I don’t always get the same answers when I ask them.
By MICHAEL PERKINS
SOME PHOTOGRAPHERS’ EQUIPMENT CASES ARE LIKE MARY POPPINS’ CARPET BAG: once they’re opened, you are just certain someone’s going to haul a floor lamp out of the thing. I myself hate being laden with a punishing load of gear when on a shoot, so I spend as much time as possible mentally rehearsing before heading out, trying to take just one lens which will do 90% of what I’ll need and leaving the rest of the toys at home. I developed this habit mainly because most of my work is done in a field orientation. Were I more consistently a studio homebody, then I could have everything I own just inches away from me at all times. So it goes.
What happens with my kind of shooting is that you fall in and out of love with certain gear, with different optics temporarily serving as your “go to” lens. I personally think it’s good to “go steady” with a lens for extended periods of time, simply because you learn to make pictures in any setting, regardless of any arbitrary limits imposed by that lens. This eventually makes you more open to experimentation, simply because you either shoot what you brung or you don’t shoot at all.
This work habit means that I may have half a dozen lenses that go unused for extended periods of time. It’s the bachelor’s dilemma: while I was going steady with one, I wasn’t returning phone calls and texts from the others. And over time, I may actually become estranged from a particular lens that at one time was my old reliable. I may have found a better way to do what it did with other equipment, or I may have ceased to make images that it was particularly designed for….or maybe I just got sick to death of it and needed to see other people.
But just as I think you should spend a protracted and exclusive period with a new lens, a dedicated time during which you use it for nearly everything, I also believe that you should occasionally re-bond with a lens you hardly use anymore, making that optic, once again, your go-to, at least for a while. Again, there is a benefit to having to use what you have on hand to make things happen. Those of us who began with cheap fixed-focus toy cameras learned early how to work around the limits of our gear to get the results we wanted, and the same idea applies to a lens that may not do everything, but also may do a hell of a lot more than we first gave it credit for.
Re-establishing a bond with an old piece of gear is like dating your ex. It may just be a one-off lunch, or you could decide that you both were really made for each other all along.
By MICHAEL PERKINS
WHAT MAKES A LENS GREAT, AT LEAST FOR ME, is the degree to which I can forget about it.
The best images come from being able to shoot decisively and in the moment. That means knowing instinctively what your lens is good at, and using that information to salvage more pictures. Such knowledge only comes from repetition, trial and error, patience, and all those other tedious old-school virtues that drive people crazy but drive their work to perfection. And, eventually, it means you and the lens must think and react as one, without a lot of conscious thought.
I only know one way to get to that point with a given piece of glass, and that’s to be “monogamous” with it, using a given lens for nearly 100% of my work for long periods of time. Shuffling constantly from lens to lens in an effort to get “just the right gear” for a particular frame actually leads me to be hyper-conscious of the limits or strengths of what I’m shooting with, to be less focused on making pictures and more focused on calculating the taking of pictures. I believe that the best photos start coming the closer you can get to a purely reflexive process. See-feel-shoot.
If you’ve never chosen your own version of a “go-to” lens, one that can stay on your camera almost always, and give you nearly every kind of shot, I would suggest biting off a fat space of practice time and trying it. Snap on a 35mm and make it do everything that comes to hand for a day. Then a week. Then a month. Then start thinking of what would actually necessitate taking that lens off and going with something else. And for what specific benefit?
You may find that it’s better getting 100% comfortable with one or two lenses than to have a passing acquaintance with six or seven. The above image could have been taken with about five different lenses with comparable results. But whatever lens I used, it would have been easier and faster if I had selected it because it would also work for the majority of the other shots I was to attempt that day. Less time rummaging around in your kit bag equals more time to take pictures.
Every time there is a survey on what the most popular focal length in photography is, writers tend to forget that the number one source of imagery today is a cell phone camera. That means that, already, most of the world is shooting everything in the 30-35mm range and making it work. And before we long for the “good old days” of infinite choices, recall that most photographers born before 1960 had one camera, equipped with one lens. We like to think we are swimming in choices but we need to make sure we’re not actually drowning in them.
Find the workhorse gear that has the most flexibility and reliability for what you most want to do. Chances are the lens that will give you the best results isn’t the shiny new novelty in the catalogue, but just inches away, right in your hand.
By MICHAEL PERKINS
THERE WERE, IN THE DAYS OF FILM, two main ways to create the velvety glow of uniformly soft focus so prized by portrait subjects. The more expensive route lay in purchasing a dedicated portrait lens that achieved more or less of the effect, depending mainly on aperture. The other, cheaper way was to screw-on a softening filter, making any lens adaptable to the look. Now, in the digital era, those two options have been joined by softening apps for phone cameras and in-camera “filters”, which add the effect after the photograph has been snapped.
That’s the beauty of where we are in the history of photography, where every problem has a half-dozen different solutions, offered at different levels of complexity, ease, and affordability. In the golden days of Hollywood, cinematographers achieved the soft look with some Vaseline smeared over the lens, or by attaching different gauges of gauze to the glass. Both tricks made yesterday’s matinee idols look like today’s ingenues, and now, anyone with a reasonably sophisticated camera can achieve the same success with half the bother.
I myself prefer to shoot soft focus “live”, that is, in the moment, with either a dedicated lens or a filter, but you aren’t always in the same frame of mind when you shoot something as when you review it later. In-camera processing, while offering less fine control (tweaking pictures that have already been shot), can at least give you another comparative “version” of your image at literally no trouble or cost. With Nikon, you simply select the “Retouch” menu, dial down to “Filters”, select “Soft” and scroll to the image you want to modify. For Canon cameras, go to the “Playback” menu, select “Creative Filters”, scroll to “Soft” and pick your pic. The image at left shows the result of Nikon’s retouch filter, applied to the above picture.
One personal note: I have tried several phone app softeners as post-click fixes, and find that they generally degrade the quality of the original image, almost as if you were viewing the shot through a soup strainer. Your mileage may vary, but for my money, the app versions of soft focus are not ready for prime time yet. Best news is, the soft-focus effect is so popular that eventually all solutions will be generally equal, regardless of platform, since the marketplace always works in favor of the greatest number of people making pictures. Always has, always will.
All things considered, we got it pretty soft.
By MICHAEL PERKINS
NORMALEYE PHOTOGRAPHIC PARADOX No.346: You have to think hard about your equipment when you’re not shooting so that you don’t have to give much thought when you are.
Reacting “in the moment” to a photographic situation is often lauded as the highest state of human existence, and, indeed, the ability to see, and do, on the spot, can yield amazing results. But, in that marvelous inspirational instant, the smallest item on your checklist should be dithering about your gear. What it will do. What it can’t do. What you don’t know how to make it do. These are ruminations you run through when there’s no picture making going on.
Simply, the more you know about what you’ve taken to a shoot, the less creative energy will be drained off worrying about how to use it once you get there. You will get to the point where, for a given day’s subject matter, you take the wide lens, of course, or the macro lens, of course, or the portrait lens, of course. You’ll anticipate the majority of situations you’ll be in, and, unless you like driving yourself crazy, you’ll likely select one lens that will just about do it all. But whatever lens you select, you will want to know how much farther you can push it, as well. You know what you generally need it to do, but can it, in a tight spot, do a decent job outside its specialty? The answer is, probably yes.
One of my favorite lenses for landscape work is my ancient Nikkor 24mm f/2.8 prime. Nice and wide for most outdoors subjects, pretty fast for the close and dark stuff, and sharp as cheddar cheese in my most used apertures, especially the middle range, like around f/5.6. Can it do macro work, when I swing my attention from distant mountains to detail on a nearby cactus? Well, yes, within reason.
The minimum near-focus distance for this lens is about ten inches, more than close enough to fill a frame with the trunk of the saguaro with a little spare space to the right and left. I shoot in big files, so even with a post-op crop I preserve lots of resolution, and bang, the wide-angle does a respectable job as a faux macro.
I grew up around amateur race arenas which invited people to haul any old hunk of automotive junk to the track, to be run in so-called “run what ya brung” events. I personally hate to haul my entire optical array out on a project, swapping out glass for every new situation. I’d much rather save my neck and shoulder by calculating ahead of time which lens will do most of what I want, but be able to stand-in for some other lens in special situations. There are usually work-arounds and hidden tricks in even the most limited lenses. You just have to seek them out.
Run what ya brung.
By MICHAEL PERKINS
But soft! What light through yonder window breaks? —Shakespeare
OKAY. AS IT TURNS OUT, IN THE ABOVE LINE, ROMEO WAS ACTUALLY RHAPSODIZING about his main squeeze, rather than ideal photographic conditions. Still, I often think of the quote when a sudden shaft of gold explodes from behind a cloud or a sunset lengthens shadows, just so. I have lots of But, soft! moments as a photographer, since light is the first shaper of the image, the one element that defines the terms of engagement.
After light, for me, comes focus. Where it hits, where it peaks, where it falls off, and how all these aspects shape a composition. Soft or selective focus especially seems more intimate to me, a gentle welcome to share something special between picture and viewer. In recent years, focus has become almost as fine-tune-able as light itself, with the introduction of new, affordable alternatives to expensive “tilt-shift” lenses, which allow the selective blurring of elements within the frame. For example, the revolutionary Lensbaby products are now helping shooters make their own choices on where the focal “sweet spot” should occur in a picture, and at a fraction of the cost of a true tilt-shift. It’s a fiscal shortcut that makes it possible for almost anyone to learn how to create this effect.
Some Lensbabies can run to several hundred dollars and have precise systems for dialing in the part of a photograph that will, through sharp focus, attract optimum attention to a subject, gently blurring the image on all sides around that point. However, for those with steady fingers and shallow pockets, the company’s gateway drug, coming in at around $90, is the Lensbaby Spark, a springy bellows lens that snaps onto your DSLR in place of a regular lens and can be compressed around the edges to place the focal sweet spot wherever you want it.
The Spark takes more muscle control and practice than the more mechanical Lensbaby models, but it’s a thrifty way to see if this kind of imaging is for you. Just squeeze the fixed f/5.6, 50mm lens until the image is sharp at the place you want it, and snap. Some DSLRs allow the Spark to be used on aperture priority, but for most of us, it’s manual all the way, with a lot of trial-and-error until you develop a feel for the process. The company also sells several insert cups so that you can choose different apertures. Pop one f-stop out, pop another one in.
For those of you who like to custom-sculpt focus and light, the gauzy, intimate effect of the Lensbaby will in fact be a gentle welcome. Finally, it’s one more component that could be either toy or tool. Your shots, your choice.
By MICHAEL PERKINS
AT LEAST TWO ACQUAINTANCES HAVE RECENTLY APPROACHED ME, knowing that I shoot with Nikons, to gauge my interest in buying their old lenses. One guy has, over the years, expertly used every arrow in his technical quiver, taking great pictures with a wide variety of glass. He’s now moving on to conquer other worlds. The other, I fear, suffered a protracted attack of G.A.S., or Gear Acquisition Syndrome, the seductive illness which leads you to believe that your next great image will only come after you buy This Awesome Lens. Or This One. Or…
Perk’s Law: the purchase of photographic equipment should be made only as your ability gradually improves to the point where it seems to demand better tools to serve that advanced development. Sadly, what happens with many newbies (and Lord, I get the itch daily, myself) is that the accumulation of enough toys to cover any eventuality is thought to be the pre-cursor of excellence. That’s great if you’re a stockholder in a camera company but it fills many a man’s (and woman’s) closet with fearsome firepower that may or may not ever be (a) used at all or (b) mastered. GAS can actually destroy a person’s interest in photography.
Here’s the pathology. Newbie Norm bypasses an automated point-and-shoot for his very first camera, and instead, begins with a 25-megapixel, full-frame monster, five lenses, two flashes, a wireless commander, four umbrellas and enough straps to hold down Gulliver. He dives into guides, tutorials, blogs, DVDs, and seminars as if cramming for the state medical boards. He narrowly avoids being banished from North America by his wife. He starts shooting like mad, ignoring the fact that most of his early work will be horrible, yet valuable feedback on the road to real expertise. He is daunted by his less-than-stellar results. However, instead of going back to the beginning and building up from simple gear and basic projects, he soon gets “over” photography. Goodbye, son of Ansel. Hello Ebay.
This is the same guy who goes to Sears for a hammer and comes back with a $2,000 set of Craftsman tools, then, when the need to drive a nail arrives, he borrows a two dollar hammer from his neighbor. GAS distorts people’s vision, making them think that it’s the brushes, not the vision, that made Picasso great. But photography is about curiosity, which can be satisfied and fed with small, logical steps, a slow and steady curve toward better and better ways of seeing. And the best thing is, once you learn that,you can pick up the worst camera in the world and make music with it.
There is no shortcut.There are no easy answers. There is only the work. You can’t lose thirty pounds of ugly fat in ten days while eating pizza and sleeping in late. You need to stay after class and go for the extra credit.
By MICHAEL PERKINS
THE EVOLUTION OF ART IS SOMETIMES ABOUT SUBTRACTION RATHER THAN ADDITION. We reflexively feel that the more elements we add to our creative projects…equipment, verbiage, mental baggage…the better the result will be. I believe that, as art progresses, it actually becomes more streamlined, more pure. It becomes a process of doing the most work with the simplest, and fewest, tools.
That’s why I am a big fan of the idea of a “go-to” lens, that hunk of glass that, whatever its specific properties, answers most of your needs most of the time. Again, it doesn’t matter whether it’s a prime or a zoom or a fisheye. If it delivers more of what you need in nearly any shooting situation, then there’s little reason to keep seeking happiness by lugging extraneous gear and spending extra time swapping lenses. And, after you have been shooting and editing for a while, you will know what that piece of glass is. As a personal example, the 35mm prime lens used in the above image, which can shoot everything from moderate macro to portraits to landscapes, stays on my camera 95% of the time.
Mikey’s Golden Rule # 3,456: The more you know your equipment, the less of it you need.
Consider several advantages of becoming a go-to kind of guy/gal:
Working consistently with the same lens makes it easier to pre-visualize your shots. I believe that, the more of your picture you can see in your mind before the click of the shutter, the more of your concept will translate into the physical record. Knowing what your lens can do allows you to plan a picture that you can actually execute.
You start to see shooting opportunities that you instinctually know will play to your lens’ strengths. You can even plan a shot that you know is beyond those strengths, depending on the effect you want to achieve. Whatever your choices, you will know, concretely, what you can and can’t do.
You escape the dire addiction known as G.A.S., or Gear Acquisition Syndrome. Using the same lens for every kind of shot means you don’t have to eat your heart out about the “next big thing”, the new toy that will magically make your photography suck less. Once you and your go-to are joined at the hip, you can never be conned by the new toy myth again. Ever.
Finally, without the stop-switch-adjust cycle of lens changing, you can shoot faster. Sounds ridiculous, but the ability to just get on with it means you shoot more, speed up your learning curve, and get better. Delays in taking the pictures you want also delay everything else in your development.
There are always reasons for picking specific lenses for specific needs. But, once you maximize your ability to create great things with a particular lens, you may find that you prefer to bolt that sucker in place and leave it there. In photography as with so much else in life, informed choices are inevitably easier choices.
By MICHAEL PERKINS
HE’S YOUR DAD, YOUR UNCLE, YOUR WACKY SITCOM NEIGHBOR: the guy who has every ratchet,widget and wrench in the Sears Craftsman catalogue, yet who is, strangely, incompetent at any task more complex than the replacement of a light bulb. If he could just get that table saw, that router, he could finally tackle that pet project with real zest. But heck, he explains, I don’t have the right extender, the extra power supply, the magical whatsit that just came out this year. In reality, this guy is not a handyman, he’s an actor playing the part of a handyman. He’s Batman with a utility belt big enough to spill over a city block. He’s a gadget addict.
Now, transfer all that imagery from fix-it toys to optical toys, and you can understand the disease that photographers call G.A.S—-Gear Acquisition Syndrome.
There is no vaccine or twelve-step program for some types of shooters for whom the next lens, the up-and-coming accessory will make all the difference, and catapult their photography from mundane to miraculous. And none of us, even the most rigidly discipline, is completely immune to the siren song of the bright and shiny plaything. Sadly, G.A.S. often sidetracks us for months or even years, taking us off the path of practice and hard work with the tools we have as we wait for the toys we want. It doesn’t seem to impress us that people are making extraordinary pictures with cameras that are, basically, crap. Similarly, It doesn’t seem to faze us to know that people lugging around fifty pounds of lens changes and thousands of dollars in Leica-like bodies are often coming home with a portfolio of poop to show for their efforts. G.A.S., once its fever envelops our tiny minds, creates the hallucination that photography is about equipment. Sure, and Mark Twain wrote better after he graduated from notepads to a typewriter.
It’s almost too simple a truth that practice makes perfect, practice with limited lenses and sad little cameras, practice with nothing to focus on but how well we can teach ourselves to see. G.A.S. fogs up our thinking, making photography a destination (oh, once I get that German glass!) instead of a journey (wonder what I can make happen with what I have). It’s magical thinking. The camera becomes a talisman, a magic monkey’s paw, Harry Potter’s wand. Real, serious development is delayed while we wait for machines to appear and deliver us.
Oddly, looking backwards can often help us move forwards. Now, follow me here a moment. Ever go through the ghostly Shoebox of Shoots Past to find that you actually nailed a biggie on the day that you had bad weather, a lousy subject and a disposable $10 camera? Of course you have. But, wait….how could you take a good picture with all the wrong gear? Because something in you knew how to make that picture, with or without the ease and convenience conferred by better equipment. And the more you developed your eye, the more often you could make a picture that good, on purpose, time after time. As an example, the image at left is eight years and three cameras ago for me. I could certainly shoot it better today, but, even with more primitive machinery, I got most of what I wanted with what I had on hand that day. You have pictures just like this. Yes, you do.
I’m not saying that tools aren’t great, but if your shelves are overfilled (and your wallet is over-depleted) due to Gear Acquisition Syndrome, it’s best to ask how much in the way of toys you really need. None of it can take a great picture unless your mind and your eye are on the steering committee. Ansel Adams’ claim that the most important part of a camera was “the twelve inches behind it” is gospel. Get religion and become a believer, o my brothers.
By MICHAEL PERKINS
PHOTOGRAPHY IS ONLY PARTLY ABOUT TAKING AND VIEWING IMAGES. Truly, one of the most instructive (and humbling) elements of becoming a photographer is listening to the recitation of other photographers’ sins, something for which the internet era is particularly well suited. The web will deliver as many confessions, sermons, warnings and Monday-morning quarterbacks as you can gobble at a sitting, and, for some reason, these tales of creative woe resonate more strongly with me than tales of success. I like to read a good “how I did it” tutorial on a great picture, but I love, love, love to read a lurid “how I totally blew it” post-mortem. Gives me hope that I’m not the only lame-o lumbering around in the darkness.
One of the richest gold fields of confession for shooters are entries about how they got seduced into buying mounds of photographic toys in the hope that the next bit of gear would be the decisive moment that insured greatness. We have all (sing it with me, brothers and sisters!) succumbed to the lure of the lens, the attachment, the bracket, the golden Willy Wonka ticket that would transform us overnight from hack to hero. It might have been the shiny logo on the Nikon. It might have been the seductive curve on the flash unit. Whatever the particular Apple to our private Eden was, we believed it belonged in our kit bags, no less than plasma in a medic’s satchel. And, all too often, it turned out to be about as valuable as water wings on a whale. He who dies with the most toys probably has perished from exhaustion from having to haul them all around from shot to shot, feeding the aftermarket’s bottom line instead of nourishing his art.
My favorite photographers have always been those who have delivered the most from the least: street poet Henri Cartier-Bresson with his simple Leica, news hound Weegee with his Speed Graphic perpetually locked to f/16 and a shutter speed of 1/200. Of course, shooters who use only essential equipment are going to appeal to my working-class bias, since peeling off the green for a treasure house of toys was never in the cards for me, anyway. If I had been the youthful ward of Bruce Wayne, perhaps I would have viewed the whole thing differently, but we are who we are.
I truly believe that the more equipment you have to master, the less possible true mastery of any one part of that mound of gizmos becomes. And as I grow gray, I seem to be trying to do even more and more with less and less. I’m not quite to the point of out-and-out minimalism, but I do proceed under the principle that the feel of the shot outranks every other technical consideration, and some dark patches or soft edges can be sacrificed if my eye’s heart was in the right place.
Of course, I haven’t checked the mail today. The new B&H catalogue might be in there, in which case, cancel my appointments for the rest of the week.
By MICHAEL PERKINS
“IS THERE NO ONE ON THIS PLANET TO EVEN CHALLENGE ME??“, shouts a frustrated General Zod in Superman II as he realizes that not one person on Earth (okay, maybe one guy) can give him a fair run for his money. Zod is facing a crisis in personal growth. He is master of his domain (http://www.Ismashedtheworld.com), and it’s a dead bore. No new worlds to conquer. No flexing beyond his comfort zone. Except, you know, for that Kryptonian upstart.
Zod would have related to the average photographer, who also asks if there is “anyone on the planet to challenge him”. Hey, we all walk through the Valley Of The Shadow Of ‘My Mojo’s Gone’. Thing is, you can’t cure a dead patch by waiting for a guy in blue tights to come along and tweak your nose. You have to provide your own tweak, forcing yourself back into the golden mindset you enjoyed back when you were a dumb amateur. You remember, that golden age when your uncertainly actually keened up your awareness, and made you embrace risk. When you did what you could since you didn’t know what you could do.
You gotta put yourself at a disadvantage. Tie one hand behind your back. Wear a blindfold. Or, better yet, make up a “no ideas” list of things that will kick you out of the hammock and make you feel, again, like a beginner. Some ways to go:
1.Shoot with a camera or lens you hate and would rather avoid. 2.Do a complete shoot forcing yourself to make all the images with a single lens, convenient or not. 3.Use someone else’s camera. 4.Choose a subject that you’ve already covered extensively and dare yourself to show something different in it. 5.Produce a beautiful or compelling image of a subject you loathe. 6.Change the visual context of an overly familiar object (famous building, landmark, etc.) and force your viewer to see it completely differently. 7.Shoot everything in manual. 8.Make something great from a sloppy exposure or an imprecise focus. 9.Go for an entire week straight out of the camera. 10.Shoot naked.
Okay, that last one was to make sure you’re still awake. Of course, if nudity gets your creative motor running, then by all means, check local ordinances and let your freak flag fly. The point is, Zod didn’t have to wait for Superman. A little self-directed tough love would have got him out of his rut. Comfort is the dread foe of creativity. I’m not saying you have to go all Van Gogh and hack off your ear. But you’d better bleed just a little, or else get used to imitating instead of innovating, repeating instead of re-imagining.
By MICHAEL PERKINS
EVERY SET OF VISUAL ELEMENTS, CAPTURED AT OPPOSITE EXTREMES, DELIVERS A COMPLETELY DIFFERENT SET OF STORY RESULTS. For photographers, the everlasting tug-of-war, involving “what to shoot?” is usually between “how close” and “how far away”? Even the lenses we buy, along with their unique properties, reflect this struggle between the intimate tale, told by a close-up, versus the saga, drawn from a vast panorama. There is a season, turn turn turn, for all kinds of image-making, and it’s no great revelation that many shooters can look at the same grouping of components and get remarkably different results.
Had I come upon the cluster of office cubicles seen in the image above on, say, day “A”, I might have been inclined to move in close, for a personal story, a detailed look at Life In The Office In This Modern World, or how worker #3456 left behind his umbrella and half a tuna sandwich. As it turned out, however, it was day “B”, and instead I saw the entire block of spaces as part of an overall pattern, as a series of lives linked together but separate, resulting in the more general composition shown here. I was shooting wide open at f/1.8 to retrieve as much light, handheld, as quickly as possible, to use the surrounding darkness to frame all the visual parts of the scene as boxes-within-boxes, rather than a single cube that warranted special attention.
Next time I’m up to bat with a similar scene, I could make the completely opposite decision, which is not a problem, because there never is a wrong decision, only (usually) wrong execution. And, yes, I realize that, by shooting empty offices, I dodged the whole ethical bullet of “should I be spying on all these people?”, otherwise known as Street Photographers’ Conundrum # 36.
I love wrestling with the paradox of how close, how far. There can be no decisive solution.
Only the fun of the struggle.
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