By MICHAEL PERKINS
PHOTOGRAPHIC TECHNIQUES CAN BE THOUGHT OF as both active and passive. Some of the tools used to tell a visual story silently move narratives along without loudness or fuss, while others deliberately call attention as much to themselves as to the tales they tell. You can make pictures that betray very little of “how’d they do that?” or you can trumpet your tricks very loudly.
Or, of course, you can do both.
As a case study, consider one of 2018’s Oscar contenders, The Favourite, which tells a surreal tale of eighteenth-century castle intrigue with camera work that fairly screams to be noticed, mixing standard widescreen shots with ultra-wide and even fisheye compositions, shuffled together in jarring transitions, as if the director needs to remind us how twisted and nightmarish the story it by keeping us visually off-kilter for the entire length of the movie. Contrast this with most films that try to render their photographic tricks invisibly, in keeping with established Hollywood tradition. Is it a case of The Favorite’s director merely showing off his technical cleverness?
Well, yes and no. Various lenses convey vastly different concepts of space, of the width and depth of rooms, of the relationships between man and nature. Using an extreme tool like, say, a fisheye, changes the rules of engagement for the viewer, even when applied to a conventional subject. The photographer is, in effect, saying “composition is what I say it is, not what you’ve been led to expect.” Of course, when you drastically distort how a scene or object is presented, you risk your picture being “about” the visual effect, eclipsing your message instead of amplifying it.
The characters in The Favourite are in a constant state of moral disequilibrium, with everyone jostling for position or advantage, so an unsettling shift between various lenses reflects their uncertainty, the unreality of their situation, actually enhancing the nightmare quality for the audience. Does your picture call for a technique that, in turn, calls attention to itself? Flamboyant or not, the answer must, occasionally be yes.
Just because you’re showing off doesn’t mean you’re wrong.
By MICHAEL PERKINS
OVER YOUR LIFETIME AS A PHOTOGRAPHER, IT DOESN’T TAKE A LOT OF EFFORT TO ACCUMULATE A SMALL WAREHOUSE OF SPECIALIZED GLASS. Lens acquisition just may be the crack cocaine of photography, since we all know that the best picture of your life will be taken with the lens you don’t yet own.
We slobber with envy over magazine spreads which lovingly detail the bursting kit bags of the pros, which far too many of them pose for in magazines, at least once. I think it is a kind of passive-agressive attempt to scare most of us other shrimps into abandoning the craft altogether and finding honest work, like breaking into ATMs. I swear, there must be proof that a significant percentage of the second mortgages in the world are traceable to “daddy needs a new fisheye”.
One of the most expensive hunks of glass for many of us will be a dedicated macro lens. Assuming that you don’t buy a third-party bauble made from a child’s kaleidoscope in an emerging nation, the investment can be daunting, especially if macro shots are a small subset of your total output. Forced to choose between a dedicated macro and a decent quality zoom, however, I have sided with the zoom every time, since, in a pinch, it can serve as a decent sub for a macro. Detail is your big factor. You have to decide if you want to count the feathers on a robin’s back, or if you want to be able to see the mites that live in the feathers. If you’re a mite man, then apply for that second mortgage now.
Standing just a few feet from your macro subject and zooming out to, say, 300mm allows you enough magnification to fill your frame. Of course, you should be absent any bloodstream caffeine, since camera shake will become a large part of your life. You could default to a tripod, but since you’re improvising a macro shot, you are probably too close to the object to want to impede foot traffic (or simply waste opportunities) getting set up, so it’s better to experiment with various ways of bracing the camera against your body. And again, cut the caffeine.
Your depth of field will be shallow, which will actually help out, since the bokeh will eliminate distractions around or behind your subject. You will also be far enough from what you’re shooting to keep you from casting a shadow over it with your body. If you want a sharper image, you can go to a smaller aperture, but as you’re completely zoomed out already, you are already down to f/5.6 and its attendant light loss. A smaller aperture means you’ll have to slow your exposure, and that could give your handheld shot the dreaded shakes again. Everything’s a trade-off.
Bottom line: it’s cost-effective to make the lenses you have do everything of which they are each capable than to build a mountain of specialized glass in your closet.
Remember when golf was the expensive hobby? Ah, them wuz the days.