P.O.C. x 2
By MICHAEL PERKINS
NOSTALGIA, AS YOGI BERRA FAMOUSLY REMARKED, ain’t what it used to be. Photography often feeds on a longing for the past, either in the artificial retro-rendering of the way we used to capture images (think faux tintypes), or an affection for the actual life events we chose to preserve Back In Der Day (see every old shoebox of snaps you own). And now, in an unusual twist, Gen-Z shooters are experiencing their own time-specific manifestation of this pleasant pang, focusing on the very beginning of the digital era.
Suddenly a significant number of media influencers and Instagram mavens have turned away from cell phones as their default cameras and re-embraced the earliest days of pixelated point-and-shoots. Raiding Mom’s junk drawer for a working Canon Powershot or Kodak Easyshare, a growing number of Z-ers are seeking the lo-fi tech that accompanied many of their most important personal memories, peppering their online feeds with uploads of delightfully (and intentionally) flawed photos. So try to track this, history lovers: we have gone from film cameras to primitive digital cameras to more advanced digital cameras to remarkably advanced phone-based point-and-shoots back to primitive digital…all in the service of (sing it with me) Memories…light the corners of my mind…misty, water-color memm…...(ahem, sorry).
In some ways, this mini-trend echoes the fascination many young hipsters have long held for analog film as well as the crappy cameras that make them look even more, well, filmic, as if the technically derelict pics that emerge from them are somehow more tactile, more authentic than those from the latest iPhone or Android. And while I understand this desire to return to some Eden of lost youth, I cannot truly share the sensation.
I mean, look at this thing.
Behold my first-ever digital, a p&s from 2001 that boasted a Herculean 1.3 MP in raw, beefy picture power. For those of us who’ve forgotten the math, that’s a whopping 1280 x 960 worth of resolution, not exactly the stuff of dream enlargements or even decent screen quality, but hey, the picture’s ready right away (hear me talkin’, oh Polaroid pioneers!) Such cameras were, to the first generation of digi-users, a P.O.C. (proof of concept) that was also a P.O.C. (piece of crap). Full disclosure: my actual D-370 has long since disintegrated in my hand, meaning that I had to scan the interweb for an image of it. And yet, with such devices, say the young-un’s in the Then-Was-Better movement, I captured my prom, I chronicled our rafting trip, we giggled through Graduation Day. The remarks of one of the uber-young who are re-experiencing their salad days says expresses the sensation thus: “I feel like we’re becoming a bit too techy. To go back in time is just a great idea.”
Pardon me if I restrain my giddy joy.
I never took a technically acceptable picture with this peashooter, and I ran into the welcoming arms of my first DLSRs with unbridled optimism. Now, it could be argued that I finally can take technically acceptable pictures, but haven’t yet learned how to breathe a soul into them, but that’s a confession for another time. Some of those returning to first-gen digitals claim that the experience is one of simplifying or slowing down their picture-making, and on that count, I wish them godspeed. Whatever (and whenever) it takes to make a picture you love, from daguerreotypes to Kodachrome, you do you, and ignore all the old sods that say Don’t.
OPEN ME FIRST
By MICHAEL PERKINS
NEAR THE END OF EVERY YEAR, SINCE ITS INCEPTION, The Normal Eye has cast a fond eye on the romance that persisted for nearly one hundred years between the Eastman Kodak Company and the worldwide market for amateur photography, a market it almost singlehandedly created. These posts have also included a nostalgic nod toward the firm’s famous Christmas advertising, which regularly instructed recipients of a new Kodak camera to “open me first” on the big day. Because before George Eastman could successfully put an easily operated and affordable camera into the world’s hands, he first had to answer the question, “but what will I use it for?”, a question with a very single answer: memory.
Like every savvy marketer, Eastman knew that he not only had to teach people how to use his simple new device: he had to teach them to desire it as well. Memories were the bait. As the world first learned how to say “Kodak” (A nonsense word Eastman devised to stand for nothing but itself in any language), it also had to be sold on its most compelling use, that of a storage medium for humans’ most treasured experiences. Aided in the late nineteenth century by the infant art of mass market advertising, Eastman pitched the camera as the new, essential means of not just recording important events but conferring importance on them. A gathering, a party, a wedding, the family dog at play…these were not really memories at all, unless and until a Kodak anointed them as such. It was a new way for the world to regard its experiences, not as valuable by themselves alone, but valuable because a Kodak, one’s own Kodak, had captured them. Today, we still react to life with the same urgent need. This will make a great picture. I have to get a picture of this.
Advertise photography without using a photograph? Hey, welcome to 1900, folks.
And what could be a greater potential harvesting ground for these memories than Christmas Day? Almost from Kodak’s beginnings, Eastman mounted annual ad campaigns that emphasized how precious, how fleeting were the moments of joy and discovery that accompanied the opening of presents, certainly when those presents included a new Kodak camera. As seen in the above image, this sales pitch started even before most major newspapers could even reliably reproduce a photograph of any kind in their pages, leading to ads that touted the benefits of photography with only drawings or paintings of the product being used! Talk about the power of suggestion…..
The marketing of any product, from the automobile to the iPhone, starts with the engineering of desire, of convincing consumers they need a thing and then selling it to them. With luck, the buyer sees that they do, indeed, “need” that thing (even if they never knew it before), and come to think of it as indispensable. And so it was with the ability to freeze time in a box. As in Eastman’s time, we still see the value of those boxes, even as their functions have shifted and evolved. We still want the magic. And the trick is still enchanting. Every. Single. Time.
BACK TO THE BLUE PLATE
The lunch crowd at Beach House Tacos, Ventura, California, 2022
By MICHAEL PERKINS
THERE IS A KIND OF ROMANCE, CALL IT A CULT OF THE INDIVIDUAL, that informs our love of what can only be called The Great American Joint. We have a special affection for the one-location, one owner store or restaurant that outlasts global competitors. We revel in diners that celebrate “100 years at the same location” or burger stands that offer only one house specialty (no substitutions!) And it is altogether appropriate that Americans, in particular, should hold the Moms-and-Pops of the world dear. After all, we did everything we could to put them out of business.
The multiple-location business model was actually born in the U.K. in the 1700’s but really hit its stride in the States in the1860’s when a local New York tea shop owner opened multiple branches around the city. By 1900, The Great Atlantic & Pacific Tea Company (or the A&P to you) became the first true grocery chain, and from there, the chain movement exploded to include hardware and department stores, hotels, clothiers, drugstores and, most importantly, restaurants. Over a hundred years later, chains offer familiarity and reliability as we move from one golden arch to the next, but they also starve the landscape of variety and, worse for photographers, distinctive visual experiences.
That’s why I doggedly seek out joints when traveling and shooting. The food varies wildly in quality, and that’s just fine: one man’s uncertainty is another man’s adventure, if you like. Beyond that, joints offer the chance to celebrate the different, the odd, the innovative. Chains are all about guaranteed outcomes. With Bob’s Crab Shack or the Keep Portland Weird Cafe you never know what you’ll get, and, for the sake of the pictures, unpredictability is a strength. And, in terms of karmic balance, it’s only fair that the country that tried to un-invent the private business learn, in its maturity, how to nurture what’s left. And if that means occasionally eating at a place where we have only one kind of burger, made daily on the premises, and when we’re out we’re out.….well, then, save me a seat. I’ll be with you as soon as I switch lenses.
FEEL CLOSE, SHOOT FAR
By MICHAEL PERKINS
YEAR ONE WITH MY VERY FIRST CAMERA was a demonstration in pure randomness. Whatever passed directly in front of my $5 Imperial Mark XII got caught in the frame. Whatever wasn’t… well..
Without a doubt, I made some fumbling attempts at composition, but, at least at first, the idea that anything at all would show up on the film was so mind-blowing that my idea of “success” was a packet of prints that came back from the processor having registered basically any registration of color or definition. I was too busy being grateful for the miracle to nitpick the results.
This picture of my sister Elizabeth came from that period, probably the summer of 1966, and although it was, in execution and planning, a pure snapshot, it has brought a few souvenirs along with it as it’s travelled through time. It’s shot wide, but then, with a fixed-focus plastic lens loaded with aberrations, that’s about the only way she could have wound up even reasonably sharp. Again, I said reasonably. And so, even though she is prominent in the shot, it also took in a lot of incidental time-capsule information that is really only relevant to we two, all these ages later.
For one thing, the thoroughfare to her right, a two-lane country road out in “the sticks” at the time, is now an eight-lane feeder highway to Columbus, Ohio’s massive I-270 outerbelt. The creek she is looking into is largely invisible due to this expansion. Up beyond the horizon on the right is a densely forested metro park where we were taken for school picnics and field trips. It’s still there, but negotiating a service road to gain entry into it now requires a degree from MIT. And, of course, the only place you’ll find the autos that are touring back and forth is at either a museum or a classic car show.
When I’m away from this shot, it’s easy to forget a lot, like how going to that park was a “day in the country” for us at the time, even though it was hardly a twenty-minute drive from our house. Today, that “country” is a sprawling crush of chain stores, restaurants, and housing tracts, all of which have surged further and further eastward from the city’s core over half a century. And finally there is that face, that flawless, guileless, innocent face, still free of the scarring battles that would envelop us both over the course of our lives together. This week, this child turns sixty-eight, and I am about four hundred and thirteen or so, depending on which day you ask. But when my thoughts turn to my undying love for Elizabeth, I see this image, taken wide to include lots of temporal flotsam and jetsam, but shot just close enough to bring an angel into focus.
LAST NAMES AND OTHER FACES
By MICHAEL PERKINS
WHEN I WAS A CHILD, SEVERAL PICTURE BOOKS depicted the fronts of houses as if they were faces, with the windows roughly reminiscent of eyes, the roofline acting as a kind of hairdo, the door as the nose/mouth region, and so forth. One memorable Disney cartoon called The Little House gave benevolent and malevolent expressions to various buildings based on their role in the story. Skyscrapers always seemed to threaten: tidy, small cottages endeavored to charm. And so on.
I still think of the fronts on houses to be faces of a sort, or at least the house’s version of the public personas that we all adopt, the expressions we choose to present to the street as our visual signature. I love the design and detail choices that make a house’s face welcoming, or at times repellent, to those who stroll by. Additionally, when I can, I love to photograph neighborhoods where there is enough space between homes to allow for a kind of “last name” or second face for a house, based on what the less-than-primary things that are arranged there might hint at.
78 In The Shade, 2021
Such areas are often just a storage area for tools, from coiled garden hoses to rakes or wheelbarrows. Sometimes it features a backup building like a recessed garage or a shed. In these in-betweeny free-flowing spaces between homes, various gardening attempts might be made, unfinished projects may linger in limbo, or the space might merely be a small play area. In many cases, as in the above image, it also serves as a sneak peek to the neighboring streets that exist in their own special reality just beyond the rear of the lot.
The places we call home reveal more to the wandering camera than we suppose. Sometimes our attempt to protect our privacy from public view is, in effect, more revelatory than the chummiest welcome mats or bright flowers. Cameras help us in deciphering the codes by which we choose to engage with the world at large. The purely visual elements of those codes reward an extra second of a photographer’s curiosity.
TUCKAWAYS AND TAKEAWAYS
By MICHAEL PERKINS
MY GRANDMOTHER’S NEIGHBORHOOD STREETS were separated by alleys that ran between the rows of the area’s back yards, and, as a consequence, I have only a few memories of her actually walking between the fronts of houses along the main streets. Whether it was her hardscrabble childhood in Ohio coal country or her lifelong belief that people were always stupidly discarding perfectly good stuff, she always walked to market, the local drug store, or various friends’ places by way of the alleys. And if there is such a thing as a Bargain Junk God, it spoke to her along these paths, and so, we children were accustomed to her dragging home various treasures over the years, from scraps of lumber to fixable umbrellas to an entire kids’ swingset, complete with “glider”, which we adopted as our own.
Years later, armed with various cameras, I tend to channel her a bit.
Because people continue to throw away perfectly good stuff.
Every time I shortcut through an alley, I find at least one thing that may be in the process of being chucked out, or moved to make space, or replaced by something new, or just plain forgotten about…things that can, on occasion, make neat little narrative pictures. Take this self-contained coffee “business”, for example. It sits behind a strip mall in Scottsdale, Arizona, giving off strange vibes about its history, a history that, who knows, may not yet be complete. Is it an operating wheeled cafe? Was it put out to pasture when someone had a better idea or a bigger budget? Is the trailer to be repurposed, sold, or just headed for the scrapheap? At this moment in time all these plot lines are possible, and all conjectures are equally valid or equally nuts.
The speculation continues. What exactly IS “native” coffee? Is it just a name, or an actual niche market? Is the window just covered up with wood for protection, or is it, as the term goes “boarded up”? Is the trailer merely being parked here until its next day of operation, or are all of the Native Coffee fans of the world plumb out of luck? Funny thing is, all that daydreaming is fired by exactly one hasty exposure, made out of my car window as I trekked through A Place I’ll Never Be Again for God Knows What Reason, If Any. A picture may not literally be worth a thousand words, but it is often worth a thousand “what if” guesses about what’s happened or what’s about to happen. Photography locks in moments and frees the mind to story-tell. It’s enough to make me wish that Grandma, whom, it should be noted, actually bought me my first camera, had dragged a Leica home down the alley.
BABY, YOU CAN DRIVE MY CAR
By MICHAEL PERKINS
OVER TIME, PHOTOGRAPHY ACTS AS A VISUAL SEISMOGRAPH, tracking the jagged line between ourselves and the things we encounter in the world. The objects and conditions that we regard as “everyday”, and thus somewhat ordinary, are actually in flux all the time, as is our relationship to them. In making pictures of the world that surrounds us, we are always documenting how we, and the things we either carry or leave behind, are changing the terms of our engagement with one another.
In The Corral For Keeps, 2021
Consider the automobile, a thing that is at once a utility, a medium for art, an environmental threat, a source of nostalgic glamour, and dozens of other things that wax and wane alongside us as we weave our way through our lives. There is, simultaneously, nothing more mundane and nothing more amazing than a car. It is a thing we made and which we are constantly remaking, and now, may also be a thing we are desperate to unmake.
All of this process, whether we are journaling our changing attitudes towards cars or carbs, creates opportunities for the visual artist. Photographs create a timeline, and, in so doing, graphically map the highs and lows of our loves/hates for everything that we encounter on a daily basis. The fact that we may now be entering the age of the Unmaking Of The Auto is cause for sadness, relief, and memory, but, above all, it is a new canvas upon which the photographer can re-interpret this strange relationship.
The idea here is not to set everyone out to catalogue every car on the road. The thing is, any part of our daily life that regularly changes in relation to ourselves can feed our imagination and yield great pictures. For some of us, that’s a building. For others, the evolution of a favored face over time. Your journey, your agenda. Cars are only things among other things, after all. And yet, through our lenses and eyes, they become part of a narrative about us at our most personal. And the best narratives make the best photographs.
FORWARD INTO THE PAST
By MICHAEL PERKINS
IN HIS ESSENTIAL 1982 BOOK MEGATRENDS, the late John Nesbit, trying to predict the uber-changes that would eventually govern our present-day world, described a coping method, a law of compensation called “high tech / high touch”. HT/HT was a kind of social recalibration in which the feeling of dislocation generated by surges of technological advancement would be followed by movements that re-emphasized the comforts of the world just vanished. Think of it as a kind of emotional recoil, in which we spring back from forward leaps to the familarity of simpler times, such as the recent re-emergence of physical vinyl phonograph records as a reaction to the phantom musical realms of the cloud. Nesbit’s prophecy seems to have been realized in many such areas of our society, and photography has certainly seen its share of the phenomenon.
In the camera world, Nesbit’s “high tech-high touch” is a boomerang reaction to the digital era in picture-making, a time of enormous advances in the way images are recorded, manipulated and distributed. Indeed, as foretold in Megatrends, the past thirty years has seen a tremendous counter-revolution that, far from embracing a world that is bent upon perfecting the photographic process, actually rejects it, longing for a return to the very imprecision that defined the analog world, topped off, this time around, with a healthy dollop of nostalgia.
Digital photo sharing was no sooner off the drawing board than people began to pine for their old shoeboxes of physical prints, pictures “you could hold in your hand”. Cue the rebirth of the defunct Polaroid company and a return to instant analog photography, bad film, faulty lenses and all. Hate the coldness of binary storage? Enter the new passion for film of all kinds, aimed at an audience too young to remember how expensive and unwieldy it was, or how poorly built some bargain cameras had been. Coated with the sheen of yester-appeal, these shortcomings became pluses, hailed as “spontaneous”, “unpredictable”, or “delightfully imperfect” in the re-introduction of cheap old plastic toy cameras like the Holga (see above image) and, in turn, the creation of an underclass of all-new, technically compromised gear under the banner of the “Lomography” movement. Like your retro on the arty side? Welcome to the all-manual Lensbaby line, whose higher-end optics sold selective focus to a global fanbase.
A loving return to the imprecision and high failure rate of the film era became attractive to the creators of apps as well, and today, the insanely efficient cameras of the iPhone age sell millions of dollars of applications designed to simulate light leakage, expired film, high grain, lens flares….to, in essence, enshrine all the aggravations of the analog age as some kind of photographic golden oldies. We now praise the defects we used to spend tons of money to avoid. The scary uniformity of high-tech photography has come with a side of high-touch comfort food. It’s a little like Captain Kirk refusing the option of living in a world free of conflict, declaring, without irony, “I need my pain.” Perhaps the chance that something will go wrong is a needed contrast in a world where the likelihood of error has largely been engineered out. Neither precision or randomness is a guarantee of artistic merit, however: that, at least remains, as constantly as ever, in the individual photographer’s hands.
A REQUIEM IN NEON
By MICHAEL PERKINS
MY GRANDMOTHER CALLED THEM “THE PICTURE SHOW“, which I always thought was a more elegant phrase than the self-important motion pictures. Indeed, well into our second century of going to special, secret places to see illuminated instants stab across the dark to illuminate a wall and charm our collective senses, we are experiencing a sea change in every way that we refer to “the movies”, including how much of the experience is “picture”, how much is “show”, or even how much of that event is to be shared with others.
I came back across this image from 2015 as I was thinking about the reported demise of movie palaces, about the umpteenth such prophecy I’ve heard over a lifetime. Television, the death of the nuclear family, the scourge of home video, and now streaming and plague have all taken their place in conversations about how the movies, or at least how we consume them, are “finally over”. Who knows, this time out, it might finally be time to cue the end titles and think of these stories in some profoundly different way. What I do know is that, as the drama unfolds, cameras of all kinds need to be there, to chronicle the transition.
The theatre seen here is actually holding a gala on its last night in operation. It is closing, not because of hard times, but because of good ones, as the Harkins family, the most powerful name in movie theatres in the soutwestern USA, prepares to raze the Camelview Cinema to build an insanely larger version of it just across the street inside a mall. There will be speeches, local tv coverage, even a few tears. And the neon will dim and the attendees will become ghosts, just as this time exposure has visualized them. It’s a gloriously unsubtle night of Happy/Sad/But Mostly Happy.
Since 2020, this scene has been repeated all around the world as, for the first time, the future of theatrically projected “picture shows” is seriously in doubt. As I write this, only mega-blockbusters and “franchise” releases like the latest Marvel Masterwork are turning the turnstiles to any degree. Cocooning, before smaller screens, phones, and tablets, is still being driven by a strange cocktail of convenience and survival.
But many theatres won’t get the luxury of a Harkins sendoff, or even a poetic fade to black, merely the sudden, jarring contrast of Lights Out. In my grandmother’s day, going to the movies was still a bit of a miracle, a definite event. The houses were gaudy, resplendent in their excess, with even the boxy little bijous of her own small town fitted out in their own carnival colors. Part picture, part show. The road ahead in uncertain, but I want to seek out the ones that last the longest and the ones that wink out the saddest and everything in the middle, and snap my shutter madly until the last “flicker.”
DANCING WITH A STRANGER
By MICHAEL PERKINS
I’VE BEEN ORGANIZING A GIFT FOR MY SON’S FORTIETH BIRTHDAY, which is an overview of a specific photographic theme spanning the last ten years. A decade is a nice round figure, a handy unit of time for evaluating one’s evolution in various enterprises, and so the exercise has led me to go back the same stretch across my online image postings, but, instead of looking at the entire span of ten years, I became obsessed with throwing out the clutter from exactly ten years ago. I’d like to say it was a pleasant trip down memory lane, but, in fact, I’ve done most of it with one eye closed, all the better to minimize my cringing.
It’s more than sobering to look at the stuff you felt happy enough about to throw onto the interweb just a decade ago, almost like trying to pull off an intimate dance with a total stranger, and not a very good looking one at that. I am not trying to lead the world championship in false modesty when I say that the old delete button was looking quite shopworn when the job was done, and, if anything, I feel that the large pile of photographic detritus at my feet represents me being generous in too many cases where my sentiment overrode my sense.
You are, of course, a little bit alienated from your old self every new time you pick up a camera. Get enough distance between yourself and what you once thought was your “good stuff” and the contrast can knock you off your pins. Chances are, the You of Today sees composition, narrative, exposure and subject matter with a completely different set of priorities than the You of Yesteryear. That is, if you’re lucky. If you still regard your work of ten years ago as “all killer, no filler”, you may have spent the last decade walking in circles. Or you may be the greatest genius in the history of photography, in which case I’d like to become the local chapter president of your fan club.
Me, I’m pledging to re-edit my portfolio with a lot more regularity in the future. It may not be much more pleasant, but I’d rather face several dozens of my biggest misses at a time than legions of the suckers. In the meantime, I have that gift book to finish, and I’d better hurry up about it. If I think about it too long, I might just reduce the tome to a pamphlet and send my kid a coupon for a Happy Meal.
THE DEAR (RECENTLY) DEPARTED
By MICHAEL PERKINS
REFLECTION TAKES A KIND OF MENTAL TALENT. Others would say that it takes humility. Or wisdom.
But mostly, it takes time.
Looking back is not a speedy process. First, it helps for us to personally advance to the point where certain things are in the past, since the distancing of ourselves from the immediacy of events invites and facilitates our thoughtful analysis of them. Perspective requires distance, a way to separate ourselves from the blindness of our immediate environment. The questions then become obvious: what did all that stuff mean? Which parts of it can I learn from? Does it all deserve to go away?
The process of reflection in photography also waits, if you will, for enough time to pass, allowing the artist to re-evaluate things, to take a second crack at trying to understand them. Once an experience floats far enough away from us, we are free to either appreciate it anew or merely release it as less than essential. The dear departed, once we get far enough away from them, become open to interpretation by many means, the camera among them. Everyday objects can tend to be invisible, because we mainly see only their use. With time, we can often re-visit them, seeing new elements in their design, the context of why they were important in the first place, or other considerations.
Think Andy Warhol’s Campbell’s soup can.
By forcing a conversation about a seemingly banal object, forcing it into “serious” art galleries as an important thing, Warhol made us look at why we consume things, as well as what we would, going forward, consider “art”. Lately, in the age of the Great Hibernation, many photographers are picking through the accumulated stuff of their immediate environment, looking for something from which to craft images. In so doing, we’ll inevitably stumble across things we have forgotten, or simply don’t consider anymore on an everyday basis. Some of these objects have only recently drifted out of the flood of impressions that make up our daily world, like the cassette seen here. How could anything have been more ubiquitous at the height of its popularity? What could be anymore superfluous than it is now? And yet…
Using the camera and our increasing distance from familiar things can free those things from their popular associations. They can become our soup can, sparking some interesting questions. Why did we use this thing? Why did it not last? And now that it is, truly, just a thing, what can we learn about ourselves by looking at it from a new direction? This is not as ridiculous a rainy-day project as it seems. We still visit places whose famous sites are so over-photographed that we have to labor to say anything new about them, to, in effect, make the Eiffel tower our Eiffel tower. The whole idea of re-visualizing dear, recently departed is really part of the same exercise, done one cassette at a time.
(RE)SHAKE IT LIKE A POLAROID
By MICHAEL PERKINS
OVER THE PAST FEW DECEMBERS, The Normal Eye has marked the holidays by recalling classic Christmas advertisements from the Eastman Kodak Company, the first corporation to merge consumers’ seasonal sentiment with the promotion of camera sales. We’ve had fun revisiting examples of the firm’s amazingly successful “Open Me First” campaign, which cheerfully asserted that, basically, it ain’t Christmas until someone puts a Kodak under the tree.
This year, however, seems to argue for a new wrinkle in our tradition, with the long-anticipated resurrection of the Polaroid corporation, or at least its Christmas ghost. The strange saga began in 2008 when Polaroid decided to discontinue the production of its iconic instant film, leaving a half-century’s worth of global users stranded. Enter the entrepreneurial trio of Florian Kaps, Andre Bosman, and Marwan Saba, who bought as much of the company’s factory hardware and film-making process that still remained after Polaroid had begun scrapping parts and burning files. Sadly, most of the sacred secret film recipe had already been destroyed, meaning that the team’s new company, dubbed The Impossible Project, had to painstakingly reverse-engineer the production process, eventually creating an instant film that was much closer to the quirky, low-fi look of Lomography cameras than the precise instruments Polaroid produced in its heyday.
For the next seven years, Impossible Project instant film shot off the shelves to feed the world’s aged inventory of SX-70’s and One-Steps, drawing praise for preserving the feel of film and drawing fire for what was actually pretty crappy color rendition and slooooow development time. Finally, in 2017, Impossible purchased the last remnants of Polaroid’s intellectual property, allowing it to begin manufacturing brand-new cameras for the first time in years and rebranding the company as Polaroid Originals. Christmas 2017 would herald the arrival of the Polaroid OneStep 2, a point-and-shoot quickie designed to compete with other mostly-toy cameras cashing in on the instant film fever. The Ghost Of Shaken Snaps Past walks amongst us once again.
And so, Polaroid is dead and long live Polaroid. The above 1967 Christmas pitch for the original company’s full product line (read the fine print) gives testimony to the incredible instruments that once bore the Polaroid name. You can’t go home again, truly. Not to live, anyway. However, an occasional 60-second visit can be fun.
Strange colors and all.
By MICHAEL PERKINS
THANKSGIVING WEEK USUALLY DEPUTIZES WRITERS OF EVERY VARIETY to generate lists of things the author is thankful for, everything from baby puppies to the designated-hitter rule, all enveloped in the gold glow of gratitude. Photographers are usually not enlisted for these rosters of wonderfulness, but, if you make pictures long enough, you will, no doubt, have a list of very specific items that warm your heart.
Over a lifetime, I have generally been grateful for photography’s consistent ability to excite my senses, challenge my thinking, and create the addictive sensation known as surprise. I’m grateful that George Eastman introduced the first practical roll film, taking photography from the hands of the few and giving it to the world at large. I’m glad that images have found languages with which to speak to people, languages that surpass the power of speech. I’m glad that photographs stitch together links across every gulf of human experience. And I’m thankful for the pictures that enraged me to action, that gladdened me to tears, that encouraged me to make more pictures of my own.
I’m grateful for the men and women who have created the greatest visual art form the world has ever known. You can sub your own gallery of gods, but mine includes Ansel Adams, Berenice Abbott, Garry Winogrand, Alfred Stieglitz, Henri Cartier-Bresson, Gordon Parks, Margaret Bourke-White, Edward Weston, Robert Frank, Edward Steichen, Robert Capa, Diane Arbus, Weegee, Walker Evans, Julia Margaret Cameron, W.Eugene Smith, Dorothea Lange, Richard Avedon, Annie Liebowitz, and, most importantly, the millions of invisible eyes and hands out there cranking, out there living by one unshakable credo: Always be shooting.
I thank the photo gods for images of my parents, first as sweethearts in the aftermath of World War II, then as newlyweds in the ’50’s, then as Mommy and Daddy in the Space Age, and presently as the great long-distance runners of romance, still mad for each other at 66 years and counting. I thank fortune for the bunny ears and hamming and mugging and bright toothy giggles of my own children, frozen now in their newness and their hunger for life. And I incidentally thank luck for Kodachrome, quick-charging batteries, fast lenses and a few moments in which I swung around, just in time, and got the shot.
The camera is many things…charmer, chronicler, narrator, witness, liar, magic wand. It gains all these special powers in the hands of people. Photographs are measures of who we are, what we care about, and what we want time to say about us after we’re gone.
Lots to do, lots left to attempt.
Lots to be thankful for.
I know all the songs that the cowboys know
‘Bout the big corral where the doggies go
‘Cause I learned them all on the radio
Yippie yi yo kai yay
“I’m An Old Cowhand”, music and lyrics by Johnny Mercer
By MICHAEL PERKINS
SOMETIMES IT SEEMS THAT WE ARE NEVER REALLY FINISHED with photography’s past, using today’s technology to summon forth the look and spirit of what we see as the early innocence of the art. Photographers are always trying to wrench free of yesteryear, and yet, in our images, we love to romance the echoes of the shooters that we were, as well as the world that what there to shoot.
We like to conjure ghosts.
We’ve reached a place where, through one process or another, it’s easy to evoke almost any phase of photography we desire, a strange nostalgia that has artificially extended the use of film by a good many years into the digital era. We like the feel, the habits, even the defects of film as a storage medium. We build brand-new pinhole box cameras: we revive and repair old tool dies so we can manufacture factory-fresh editions of defective old gizmos. We write computer code that allows our smartphones to imitate the grain and texture of archaic celluloid emulsions.
Of course, there has to be subject matter to feed all this retro-tech, and, in the American west, the medium matches the message as we drench memories of the frontier in our own brew of reflective processes. Sepia tone, soft focus, high contrast, long exposures, all of them are used to summon the bygone glories of cactus and canyon. The settling of the west will always create a kind of poignant ache for photographers. The surveyors, the settlers, even the Hollywood myth-makers all stole a march on us. We bring our cameras to try to spook up a smidgen of the Big Pictures that we missed.
It’s a kind of harmless fakery that we paint upon mesa and mountain, a re-interpretation of a truth none of us really knows for sure. It’s dressing up to play cowboys and indians, with the camera’s eye to help make the best, most authentic forgeries we can muster. Living in the west in the 21st century, I find that conjuring ghosts, like indulging in any other kind of fantasy photography, is like building a doll house. I control the furniture, the wall paper, the layout of the rooms. We all arrived to late to ask the Riders of the Purple Sage to smile for the birdie. But there are still smiles of a sort, even an occasional tear, to be drawn in the dust.
THE LAST OF MANY GOODBYES
By MICHAEL PERKINS
ON THE SPOCK SIDE OF OUR BRAINS, OF COURSE WE KNOW that there is nothing particularly magical about buildings per se. Stone and steel cannot, after all, generate memory or experience; they merely house the people who do. Still and all, the loss of certain edifices engenders a purely emotional response in us, perhaps because special things can no longer happen there, and the physical proof that any of it happened at all is being rendered, at least physically, into dust. That puts us in the realm of dreams, and that’s where great photographs are born.
When a place that is special to us is about to wink out of existence, everyone who used that place stamps it with their own stories. We went to school here. This is where I proposed to your mother. The bandstand was here, along this wall. So personal a process is this that our farewell photographs of these places can take on as many different flavors as the number of people who walked their halls. And, as a result, it’s often interesting to compare the final snaps of important places as filtered through the disparate experiences of all who come to reflect, and click, in the shadow of the wrecking ball.
I have attended many an opening at theatres, but I always make a point to attend their closings. Not the end of a certain film or engagement, but the final curtain on the theatres themselves. How best to see their final acts? As a quiet, gentle sunsetting, as with the above image of Scottsdale, Arizona’s Camelview theatre, shuttering in deference to a bigger, newer version of itself at the end of 2015? Or, in the colorful confusion of the venue’s final night, with crowds of well-wishers, local dignitaries and well-wishers crowding into the final screening?
Each view projects my own feelings onto the resulting images, whether it be a golden dusk or a frenetic, neon-drenched, tomorrow-we-die send-off, complete with champagne and cheers. The introspective daytime shot has no teeming crowds or fanfare. The night, with its ghostly guest blurs (a result of the longer exposure) features people who are as fleeting as the theatre’s own finite run. Both are real, and neither is real. But they are both mine.
Buildings vanish. Styles change. Neighborhoods evolve. And photographic goodbyes to all these processes are never as simple as a one-size-fits-all souvenir snap. People, and memories, are too customized for that. As with movies themselves, there is always more than one way to get to the final fadeout.
By MICHAEL PERKINS
I ALWAYS SCRATCH MY HEAD WHEN I SEE AN EATERY sporting a sign that boasts “American Cuisine”, and often have to suppress an urge to step inside such joints to ask the proprietor to explain just what that is. If there is one thing about this sprawling broad nation that can’t be conveniently corralled and branded, it’s the act of eating. Riff through a short stack of Instagrams to see the immense variety of foodstuffs that make people say yum. And as for the places where we decide to stoke up….what they look like, how they serve us, how they feel….well, that’s a never-ending task, and joy, for the everyday photographer.
Eating is, of course, more than mere nourishment for the gut; it’s also a repast for the spirit, and, as such, it’s an ongoing human drama, constantly being shuffled and re-shuffled as we mix, mingle, disperse, adjourn and regroup in everything from white linen temples of taste to gutbucket cafes occupying speck of turf on endless highways. It’s odd that there’s been such an explosion of late in the photographing of food per se, when it’s the places where it’s plated up that hold the real stories. It’s all American, and it’s always a new story.
I particularly love to chronicle the diners and dives that are on the verge of winking out of existence, since they possess a very personalized history, especially when compared with the super-chains and cookie-cutter quick stops. I look for restaurants with “specialities of the house”, with furniture that’s so old that nobody on staff can remember when it wasn’t there. Click. I yearn for signage that calls from the dark vault of collective memory. Bring on the Dad’s Root Beer. Click. I relish places where the dominant light comes through grimy windows that give directly out onto the street. Click. I want to see what you can find to eat at the “last chance for food, next 25 mi.” Click. I listen for stories from ladies who still scratch your order down with a stubby pencil and a makeshift pad. Click. Click. Click.
In America, it’s never just “something to eat”. It’s “something to eat” along with all the non-food side dishes mixed in. And, sure, you might find a whiff of such visual adventure in Denny’s #4,658. Hey, it can happen. But some places serve up a smorgasbord of sensory information piping hot and ready to jump into your camera, and that’s the kind of gourmet trip I seek.
TAKE ME OUT TO THE “ALL” GAME
By MICHAEL PERKINS
YOU SEE RIDICULOUS ARTICLES FROM TIME TO TIME claiming that baseball has been replaced as America’s Pastime. Such spurious scribblings invariably point to game attendance, TV ratings, or some other series of metrics that prove that football, basketball, and, who knows, strip Scrabble have reduced baseball to some quaint state of irrelevancy. All such notions are mental birdpoop for one salient reason. No one is giving due attention to the word pastime.
Not “passion”. Not “madness”. Not even “loyalty”. Pastime. A way of letting the day go by at a leisurely pace. A way to gradually unfurl afternoons like comfy quilts. People-watching. Memory. Sentiment. Baseball is for watchers, not viewers, something that television consistently fails to realize. It’s the stuff that happens in the pauses, of which the game has plenty. Enjoying baseball, and photographing it as an experience, is about what happens in the cracks.
Images are waiting to be harvested in the dead spots between pitching changes. The wayward treks of the beer guys. The soft silence of anticipatory space just before the crack of a well-connected pitch. TV insists on jamming every second of screen time-baseball with replays, stat tsunamis, and analysis. Meanwhile, “live”, in the stadium, the game itself is only part of the entertainment. Sometimes, it actually drops back to a distant second.
Only a small percentage of my baseball pictures are action shots from the field: most are sideways glances at the people who bring their delight, their dreams, and their drama to the game. For me, that’s where the premium stories are. your mileage may vary. Sometimes it’s what’s about to happen that’s exciting. Sometimes it’s the games you remember while watching this one. There are a lot of human factors in the game, and only some of them happen between the guys in uniform.
Photography, as a pastime, affords a great opportunity to show a pastime. America’s first, best pastime.
It’s not just a ballgame. It’s an “all” game.
Root, root, root.
By MICHAEL PERKINS
IN HIS WONDERFUL 1960 ROAD JOURNAL, TRAVELS WITH CHARLEY, John Steinbeck, author of The Grapes Of Wrath, Of Mice And Men and other essential American novels, laments the passing of a kind of America in much the same way that a roving photographer might. “I wonder”, he wrote as he motored through one vanishing frontier after another, “why progress looks so much like destruction.” That’s a sentiment that many a shooter has experienced as he pans his viewfinder over the various fading scenes of a constantly changing nation. Steinbeck sang his ode to these vaporized hopes on the printed page. We freeze their vanishings in a box.
However, capturing changes in a rambling big hulk of a country encompasses more than merely mourning the loss of a forest or the paving of a paradise. Photographic testimony needs to be made on the evolution of even the America we feel is vulgar, or ugly, or strange, as well as on the disappearance of the buffalo. There can be a visual poignancy in seeing even our strangest, most misbegotten features dissolving away, and great picture opportunities exist in both the beautiful and the tawdry.
One of the strangest visual cultures that we see cracking and peeling away across the USA is the culture of eating. The last hundred years have seen the first marriage between just taking a meal and deliberately creating architecture that is aimed at marketing that process. Neon signs, giant Big Boys shouldering burgers, garish arrows pointing the way to the drive-through….it’s crude and strange and wonderful, all at the same time, and even more so as its various icons start to fall by the wayside.
The Courtesy Coffee Shop, baking in the desert sun just beyond the Arizona border in Blythe, California, is one such odd rest stop. Its mid-century design, so edgy at the start of space ships and family station wagons, creaks now with age, a museum to cheeseburgers and onion rings of yesteryear. Its waitresses look like refugees from an episode of Alice. It recalls the glory days of flagstone and formica. And they’ve been doing the bottomless coffee cup thing there since the Eisenhower administration.
Steinbeck, were he on the road again today, might not give a jot about the passing of the Courtesy into history, but restaurants can be interesting mile markers on the history trail just as much as mountains and lakes. Besides, when’s the last time a mountain whipped up a Denver omelet for you?
THE UNKNOWN FAMILIAR
By MICHAEL PERKINS
YEARS AGO, RONALD REAGAN, UPON VISITING HIS OLD ELEMENTARY SCHOOL for a presidential photo opportunity, famously asked the local administrators how they managed to shrink the desks in the classrooms. Of course he was joking, but the remark was a telling one; when we return to the scenes of our earliest dramas and farces, we tend to believe that some other outside force sneaked into the place, before our arrival, and somehow re-ordered reality. We laugh at Reagan’s quip because we can see ourselves saying the same thing. It’s all about us.
Just as we are pleasantly shocked to view the graduated pencil marks on our old kitchen wall that logged our increasing height at different ages, we marvel when we take cameras back to the same places where we took cameras in the past. We think we are measuring time in what we shoot, but we are actually measuring ourselves in how we shoot. A recent trip to my hometown afforded me time to roll around to a number of places where I have repeatedly returned over a lifetime, each time approaching photography, and myself, a little differently. In some cases, the first frames I ever shot of these sites go back over forty years, and, good pictures or bad, the results are a few universes away from those first efforts.
How can it be otherwise? I don’t see the same way. I don’t look to see in the same way. Years ago, I was still enthralled with the idea of capturing an image in the box….any image. Hey, it worked. It’s not a stretch to say that, when I first learned to load and wind film or squint into a viewfinder, I was still amazed by the process alone, the idea of freezing time being an inexplicable miracle to me. Beyond hungering to produce my own miracles, I had no concept as to what I should be seeking, or saying.
One thing that has changed over the years is that I no longer try to stop the world with, you know, The Image. There is no “the” anymore, only “the next”. The thing I need to learn to make the picture will come, in time, if I spend long enough thinking or feeling my way through the problem. The photograph, I now know, is already in there, someplace. I just have to carve and peel until it emerges. In the images you see here, I have finally, decades hence, become ready to register the unknown in a familiar place.
To my amazement, I can actually pre-imagine a shot now, with a reasonable hope of eventually making my hand cash the check my eye has written. Back when I started, every picture was an accident….sometimes happy, often frustrating. Now, as I point my lens toward locales that are old friends, I know that they, largely, are constant. It is I who has moved. There’s some comfort, and lots of possibility, in realizing that the desks didn’t really shrink.
I just learned to stand up.
THE DISSOLVING EVERYDAY
If a phone call comes in when no one’s there to answer it, does it ring?
By MICHAEL PERKINS
TECHNOLOGY IS A SNAKESKIN, a perpetually decaying epithelial layer that we shed to reveal the fresh flesh (or the latest “version) just beneath. This death-and-rebirth cycle is so constant in our world as to be nearly invisible: things are in daily use, everywhere, until they’re not, and once they have been replaced, their new iterations seem inevitable, as if they had always been around, as if nothing else ever made any sense. How did we ever survive with that other old thing? How could we call ourselves advanced without the shiny new one?
Photography is at least partly about observing the mile markers at which we said goodbye to things. You can comprise a whole career just out of documenting objects that have made the journey from Latest And Greatest to Oh, That Old Thing, that inexorable slouch from You Simply Must Get One to Are You Still Using That? We don’t stop needing a function like television, but television sets themselves are as transient as mayflies. We don’t stop driving cars, but we have already torn down the first museums that enshrined the earliest automobiles. And so it goes.
In a recent walk through the old downtown in Flagstaff, Arizona, I seemed to pass something on every other block that reminded me of how quickly and completely we shed the tech snakeskin. In some cases, the old devices were still sort of in use, like the battered pay phone seen above. In other cases, they were so far out of synch with the times that they had been reduced to arcane decor in a store front window, as seen with the old Speed Graphic press cameras below, abstracted to mere form by their utter uselessness. In either case, I felt that a picture was warranted.
“Just one more, Miss Monroe..”
This all may be a symptom of my own rapidly advancing age. I certainly acknowledge a feeling that the entire merry-go-round of progress seems to have been cranked faster in recent years, although it may just be that I am catching slower than life is pitching. Either way, I find myself in the process of saying goodbye to lots of things lots more of the time. And even though I vainly try to slow this cascading process by catching glimpses of the casualties within my magic light box, I know, at some level, that it’s a losing battle. The snake sheds its skin, but never sheds a tear about that skin. It’s just something that was vital, until it wasn’t. Most of the time, we shed whole versions of ourselves, with little more thought or regret. It’s when we do pay attention to what’s been lost that we have to decide, in our pictures and our hearts, what of it was really important.
January 5, 2020 | Categories: cameras, Sentimental, Technology | Tags: Commentary, Nostalgia | Leave a comment