By MICHAEL PERKINS
I photograph late in the day, the time Rembrandt favored for painting, so that the subtlest tones surface. ———Marie Cosindas
ONE OF THE GREATEST SIDE EFFECTS OF MY HAVING LIVED IN THE AMERICAN SOUTHWEST over the past eighteen years has been its impact on how I harness light in my photography. The word harness conjures the act of getting a bit and bridle on a wild stallion, and so is extremely apt in reference to how you have to manage and predict illumination here in the land of So Much Damn Sun. It’s not enough here to decide what or how to shoot. You must factor in the When as well.
To see this idea in stark terms, study the work of photogs who have shot all day long from a stationary position along the rim of the Grand Canyon. The hourly, and sometimes minute-to-minute shift of shadows and tones illustrates what variety you can achieve in the outcome of a picture, if you consciously factor in the time of day. After a while, you can glance at a subject or site and predict pretty accurately how light will paint it at different times, meaning that many a session can produce a wild variance in results.
The late photographer Marie Cosindas, whose miraculous early-1960’s work with the then-new Polacolor film helped change the world’s attitude toward color imaging, didn’t just load her film into a standard Polaroid instant camera. She shot it in her large format Linhof, experimenting with exposure times, filters and development techniques, and, above all, with the careful selection of natural light. She didn’t just wait for her subject; she waited on the exact light that would make it, and all its colors, sing. As a result, the art world began to rethink its opinion about color just being for advertising, or as somehow less “real” than black & white.
In my own work, I take the time, whenever feasible, to “case” locations a while before I shoot them, taking note over days, even weeks, to see what light does to them at specific times of day. As I mentioned, the West suffers from an overabundance of light, mostly the harsh, tone-bleaching kind that is the enemy of warm tone. In the above image, I scouted the location in the early morning, when the eastern sun was drenching the front end of the court, but waited about eight hours to return and get the precise projection of shadow grids that only occurred once the sun was in its western descent, about two hours before dusk. My test shots from the morning told me that the picture I wanted would simply not exist until ’round about suppertime. And that’s when I stole my moment.
There are three legs to the basic photographic tripod: What, How, and When. Over the years, paying greatest attention to that third leg has often given me one to stand on.