By MICHAEL PERKINS
FOR NARRATIVE PHOTOGRAPHY, THE MOST COMPLETE CONTROL IN AN IMAGE can never consist merely in the mastery of technical factors like aperture or exposure. Depending on what kind of storytelling your pictures are about, those elements are certainly important, but, to my mind, Job One is always about control of the frame. The selection of what’s in or out of that space is the first step toward setting terms of engagement for a given picture. It is your audience’s cue sheet for what’s important to look at, the main argument for your message. Own the frame and you own the viewer’s eye, as well as whether it focuses precisely or meanders all over.
The word “frame” is, itself, a little vague in this context. Photographs are not only framed by the physical confines of the viewing area, say an 8 x 10 print. There are many ways to subdivide the space within the image to create frames within frames. Frames can be any line or demarcation in the photograph which isolate or amplify information. Framing does what you might do if you were verbally narrating or captioning your message, only it acts in a purely visual manner. Of course the physical limits of your final photo create mystery or mood merely by themselves, as the eye will naturally ask what is happening beyond the limits of the physical confines of the picture. But even inside the “hard” edges that are printed or projected, data can be revealed or concealed by what surrounds or delineates it.
Framing is a little like capitalizing a letter at the head of a new sentence. As seen in the above picture, with some help from either selective focus or silhouetting, it can also create a perceptible distance between foreground and background, a kind of faux 3d that imitates the way actual stereo photographers are taught to compose to maximize the effect in a flat medium. In this specific case, the mother and son are separated by interior framing from the greater part of the composition, held in place between the tree at right at the stone wall beneath them. This acts as a dividing line between light and dark, major information and minor decor. Framing is a way of dividing your image into active and passive information, or prioritizing its components. What data gets left out, then, is as important as what gets left in, since both decisions can spark speculation in the viewer. A frame is like a proscenium where the audience both concentrates on what’s in front of the curtain and speculates about what’s behind it. The frame is the terms of engagement for a photograph. The clearer those terms, the more immediate your picture’s impact.
By MICHAEL PERKINS
I AM TRULY THANKFUL FOR MY PHOTOGRAPHIC FAILURES. And it’s right that I have a benevolent attitude toward the pictures I’ve muffed, since there are so many of them. As a photographer, you pray for the kind of analytical ruthlessness that you need to separate wheat from chaff and label your duds as duds….no excuses, no explanations, no magical thinking that, left in a drawer long enough, these rotten seeds will someday bloom into roses. Once you can call your own stuff worthless, you’re truly on the road toward making something….well, less so.
I have just spent a week giving the (overdue) pink slip to my last and largest remaining archive of really, really bad pictures from the twilight of the film era, about 400 35mm slides that I have been hauling around the globe since the late ’90’s, and none of which, surprisingly, have blossomed into masterpieces since the last three times I pulled them out, shrieked, and sealed them back behind brick walls. Funny how that happens.
This errant tonnage represents my first attempts with 3D photography, which involves a huge learning curve, not to mention a pound and a half of heavy-duty study. At the time I began this journey, very few stereoscopic cameras were available for sale, and the ones that produced the effect the best were also the most technically limited. The Argus/Loreo 3D, my toy of choice, was, in fact, a point-and-shoot 35mm with only two apertures, since the additional depth of field at f/11 and f/18 produced the best stereo illusion. The Argus was produced to create 4 x 6 prints (which you actually had to pay to have printed, remember), each featuring two side-by-side images viewed through a prism holder. It was not intended for high-end art use, since the lenses were frozen at 1/100, there were no additional optics available, and a usable result could only be achieved outdoors, in full daylight.
Worse, I stubbornly decided to shoot slide film in the thing, thus creating a whole separate set of problems for myself. First, were processors supposed to produce both images in the same slide? Well, sure, yeah, they could do that, but how was I going to view them? No worries! Turns out that other fools like me had also shot so-called “half-frame” stereo slides over the decades, and some of the viewers made to serve them were still on Ebay. Of course, I was shooting daylight slide film at 100 ASA in all conditions, and I didn’t yet know enough (or have enough money) to instruct processors on how to “push” the slide film an extra stop or two just to make them a trice lighter, so most of my shots were murky mysteries even Sherlock Holmes couldn’t decipher.
Worse, anyone shooting stereo must learn to compose for the depth effect, something you can only master by taking lots of lousy pictures (I did) or agreeing to take pictures of boring garbage just to attain said effect (did that, too). Add to this that you only had half of a 35mm frame in which to compose and you start to see what a raging success the whole enterprise was destined to be. At one point, I even went so far as to slice the twin images apart, re-jigger them in super-wide slide mounts, find an antediluvian projector that projected those kinds of slides ($$$), then search the globe again for viewing glasses that would allow me to see the projected slides in 3-d. Getting tired yet?
So, farewell to scads of badly composed, boring and unviewable slides, a grim reminder of how expensive and unwieldy large projects were in the film era. Post-script: I eventually thrived by learning to make my own View-Master reels (still expensive and work-intensive, but there’s a reason the format has been around nearly seventy years). At least the entire fiasco finally made a real editor out of me, teaching me a most valuable mantra: bad is bad is bad is bad. Some seeds will never become roses.