By MICHAEL PERKINS
SOONER OR LATER, EVERY PHOTOGRAPHER, sifting through subject matter that is largely invisible to passersby, will elicit the question, “what are you looking at?” I seldom have a good answer for such queries, which usually come when I’m crawling on the ground, squinting at the sky, or otherwise peering at, well, you name it. The reason I tend to reply “oh, nothing” is that the answer won’t make sense to anyone else anyway. I mean, why am I staring at random pile of roadside rocks? Why do I find a rusty gate hinge fascinating at the moment? It’s actually easier to be assumed by people in the area to be the town idiot, because, the faster people write me off as mad, the sooner I can get back to what I’m doing, which is trying to make a picture. The process is seldom logical and always appears odd from the outside.
Hell, it appears odd from the inside. Like, of my head.
In one such instance, people see me staring at leaves. Dead or dying leaves. Wet ones. Half rotted ones. Leaves that are placed first on this side, then on that one, then directly in light, then cloaked in shadow. My interest in them isn’t botanical, since I often know next to nothing of the objects I’m photographing (not scientifically, anyway), and so I can’t even invent some great story about why I have chosen one over the other. They are just abstract texture to me, texture that almost always varies wildly from leaf to leaf. If I see anything symbolic at all in them, I probably see the human hand, specifically the aging human hand. In recent years I’ve taken a number of images of my ninety-year-old father’s hands, which are, at this point in his life, almost as telling about his history as the lines on his face. In turn, I began to study my own hands, which are twenty-three years behind his, but well on the path toward “wizened” status. It was at some point that leaves, which sport their own age spots, wrinkles, scars and discolorations, starting to talk a bit louder to me.
Over the past several years, my Phytomorphology series (which merely takes its name from the term for the study of plants’ external structures) has sported no other captions instead of randomly assigned numbers, a signal that, even though the collected pictures might look like part of a larger study, they are no such thing. And while I could have called them “big leaf”, “green leaf” or “dead leaf”, the arcane fakery of pretending I’m on some kind of academic mission amuses me, so….Phytomorphology 23, Phytomorphology 67, and so forth. So now we return to the sight of me randomly scanning the ground (with no particular purpose in mind), an activity that makes outsiders ask what I’m looking at. Now, I could improvise a great little comment about the veinous textures or the play of light on irregular surfaces or any other number of statements that would make me sound more like a “real” photographer, but, in truth, the leaves are merely a whim, perhaps more so than any other subject I’ve ever shot. I keep coming back to a quote from comedian Lenny Bruce, who was asked by a reporter why he chose this phrase or that structure for a given monologue. His answer: I just do it, that’s all.
In photography, as in any other form of personal expression, sometimes a thing just is, and there’s no point in being fussy about the why of it. I’m not clever enough to have a formalized reason for everything I shoot. Sometimes you just know, and you go. One more anecdote to close out: a farmer is working with his herd of cattle near the edge of a country road. Some city slicker who’s fascinated by this slows his car, asking, “excuse me, are those Guernseys or Herefords?”. “Heck”, says the farmer, “I just call ’em moo-cows.”
Maybe that’s my answer, the next time someone catches me in a meadow looking at leaves. “Gee, I guess I got some wrong information. They told me there were moo-cows around here…”
By MICHAEL PERKINS
IF YOU WANT TO HEAR THE UNIVERSE LAUGH, goes the adage, make a plan. Or, in my specific case, if you want to ensure that pigeons hang around your house forever, make a plan to keep pigeons off the premises.
Start by installing tiny metal spikes in the cross beams right over the entrance to your front door. You’ve seen them, those steely porcupine quills designed to bar entry to all the nooks and crannies where birds love to assemble to conduct aerial assault on your sidewalks. Spikes go up, birds get packing, no cruelty, no pavement poo, everyone’s a winner, right?
And if you buy that story, I have bridge I want to sell you..
But, hey, I’m a humane slob, so I write the check, go for the whole spiny effect atop the house, and look forward to a lifetime of carefree maintenance and lordly leisure. Only someone forgot to send the spike company’s brochure to the curve-billed thrasher who decided to weave twigs between the spikes, further reinforcing his domicile against the elements. And wasn’t it nice of us to build the first phase of his nest for him? Sure, we’re swell that way.
So no pigeons living above the entrance, but still birds. Small hitch in the plan, however: Mama Thrasher isn’t a hit with the Neighborhood Watch Association (Avian Division) and leaves town. And here we see the fates in all their sadistic genius: a mother pigeon moves into my “pigeon-free” zone like a hobo in a rail car and proceeds to lay her own eggs. The circle of life is now complete!
So, as anyone wise enough to realize when he’s licked, I resolve to at least photograph this grand cosmic joke. Only the act of my going in and out of my front door each day spooks Mrs. Pudge to flight, and so it takes nearly a week to sneak a shot of her in residence……an ordinary, unchallenging, Photo 101 shot that a toddler could make, if only Nature can stop laughing at me long enough to say cheese.
Obviously, with this kind of outcome, I will not be rushing to bear-proof the back yard. Now if you’ll excuse me, the flowers could us a soaking rain, so I’m off to get my car washed.
By MICHAEL PERKINS
WHETHER THERE IS CONSENSUS ABOUT THE PRESENT OR FUTURE STATE OF THE NATURAL WORLD, we are certainly in the midst of the most muscular conversation about its fate than many of us have ever known. That means that we are changing and challenging our relationship to the globe almost daily…and, along with that relationship, the way that we see, and visually report upon it. That generates a new emphasis on bearing witness to what the planet is/can be/ might be.
I call it the new era of testimony.
The birth of photography coincided with the first great surge of cross-continental expansion in America, as well as an explosion in invention and mechanization. The new system for making a physical record of the world was immediately placed into service to help quantify the scope of the nation…to measure its mountains, track its rivers, count its standing armies. Photographers like Timothy Sullivan and William Henry Jackson lugged their cameras east-to-west alongside geological surveys, railroad agents, and the emerging naturalist movement. While some shooters chose to capture the creation of new trestle bridges, others helped poets illustrate their Walden-esque reveries. In all cases, photography was tasked with the job of showing the natural world and our interaction with it. Most importantly, the images that survive those times are a visual seismograph on both the grand and grotesque choices we made. They are testimony.
And now is a time of radical re-evaluation of what that interaction should look like. That means that there is a visual story to tell, one of the most compelling and vital that photography has ever told. Regardless of your personal stances or stats, man’s place on the planet will be in a state of fundamental shift over the coming decades. And the images that this change generates will define both photography as an art and ourselves as stewards of an increasingly fragile ecology.
Ansel Adams, for all his gorgeously orchestrated vistas, was, I believe, mistaken in almost deliberately subtracting people from his grand scenes, as if they were irrelevant smudges on nature’s work. It doesn’t have to be that way. We need not make war on our native world. But whatever we do, we need to use the camera to mark the roads down which we have chosen to walk. Whether chronicling wise or foolish decisions, the photograph must be used to testify, to either glorify or condemn our choices going forward.
By MICHAEL PERKINS
IN PHOTOGRAPHY, WE OFTEN HAVE THE OPPORTUNITY TO ADMIRE THINGS THAT ARE, STRICTLY SPEAKING, beyond our capabilities. The world is rife with people who master exposure, composition, editing and conceptualization in ways which make us gasp in a mixture of awe and envy. Sometimes, we are so amazed by artists outside our own area of expertise that we emulate their passion and, in doing so, completely remake our own art. Other times, we just glimpse their greatness like a kid peeking inside the tent flap at the circus. We know that something marvelous is going on in there. We also sense that we are not a part of it.
That’s pretty much been my attitude toward landscape work.
Much of it leaves me impressed. Some of it leaves me breathless. All of it leaves me puzzled, since I know that I am missing a part of whatever mystical “something” it is that allows others to capture majesty and wonder in the natural world, their images looking “created” my own looking merely “snapped”.
It’s not the same with urban settings, or with anything that bears the mark of human creativity. I can instinctually find a story or a sweet point of focus in a building, a public square, a cathedral. I can sense the throb of humanity in these places and I can suggest it in pictures. But put me in front of a broad canvas of scenery and I struggle to carve out a coherent composition. What to include? What to cut? What light is best? And what makes this tree more pictorially essential than the other 3,000 I will encounter today?
The masters of the landscape world are magicians to me, crafty wizards who can charm the dense forest into some evocative choreography, summoning shadows and light into delicate interplay in a way that is direct, dramatic. I occasionally score out in the woods, but my failure rate is much higher, and the distance between what I see and what I can deliver much greater. Oddly, it was the work of scenic photographers, not street shooters or journalists, that originally conveyed the excitement of being a photographer to me, although I quickly devolved to portraits, abstractions, 3D, hell, anything to get me back to town, away from all that scary flora and fauna.
Medium or bite-sized natural subjects do better for me than vast vistas, and macro work, with its study of the very structures and patterns of organic things works even better. But I forever harbor a dream of freezing a forest in time in a way that stuns with its serene stillness and simple dignity. I have to keep putting myself out there, hoping that I can bridge the gap between envy and awareness.
Maybe I’ll start at the city park. I hear they have trees there….
By MICHAEL PERKINS
IN THE SPRING, JUST OUTSIDE OUR FRONT DOOR, THE MOST POIGNANT METAPHOR FOR MOTHERLY LOVE PLAYS OUT in the arms of our immense saguaro cactus. The trunk of this desert giant is regularly pockmarked by the peckings of improvised dwellings, which are temporary apartments for woodpeckers, thrashers and other breeds, and crude nests are typically crammed into the crevices between trunk and arm, so, whatever the season, we are well used to birdsong as the first sound of the morning.
But during late April and early May, an extra dimension of magic occurs when the typically blunt arms sprout hundreds of buds, and, in turn, bundles of gorgeous white cactus flowers. The blossoms are short-lived, opening and folding up dead within the space of a single day, but, for the earliest hours of their brief existence, they are life itself, not only to the regular bird crowd but also the seasonal surplus that flies in for breakfast. Between the blooms and the bugs which orbit them (also in search of nectar), it’s a smorgasbord.
That’s when I think of the sacrifice of mothers.
Birds, like most mothers you know, also spend every waking hour of their days foraging, building, sheltering, feeding, and fretting over the fates of their young. They tremble as their youngsters fledge; they learn to deal with the separation that must occur when their babies become adults in their own right; they deal with the sorrow over those who are destined never to fly. And they go on.
There is a kind of happy terror involved in being a mother, be you bird or biped, and the triumph of Mothers’ Day is that, somehow, that terror is faced, even embraced…..because the gold at the end of that particular rainbow is beyond price.
Hug a mother today, even if she’s not your own.
Especially if she’s not your own.
Connect, and say thank you.
After all, they taught us how to fly.
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- Happy Mother’s Day!! (dannapycher.wordpress.com)