By MICHAEL PERKINS
SO MUCH OF THE GREATER WORLD SEEMS SO PERISHABLE under our present Great Hibernation that one’s mind goes naturally to things of more lasting value. The more that contemporary concepts of “permanence” vanish like smoke, the more the photographer in me values the artifacts of a life that still remain close at hand. Access to the fuller world is often denied me these days, but, here, inside the compound, there is a renewed opportunity to visually reassess the things I have carried with me over a lifetime.
This has led me to try to create what you might call formal photographic “portraits” of various ephemera around the house, from weathered old coats to favorite records to…books. For me, a person who has entertained a collector’s fetish with so many kinds of playthings and pastimes over the years, everything always seems to come back to books. The printed word, and the physical packages in which it came, harnessed my passion before music, before photography, before even romantic love. And, if we’re talking about a consistent source of comfort, books have acted as one of the most permanent and reliable anchors to earlier versions of myself. I leap between covers, and I vanish, emerging re-centered, fuller and finer than I was before the plunge.
In trying to photograph the oldest surviving book in my collection, I found a lot of techniques left something visually unsaid, delivering images that were too cosmetically clean, too charming. The book you see here has been with me in high times and low since 1963. It was probably the first hardback book that was truly mine, not one just plucked out of my parents’ library. For my picture, it needed to look traveled, well explored. It needed the historical gravitas of a few creases and stains, to look like a book that was important enough to be revisited and revered over a lifetime. After several attempts that looked, well, flat to me, I decided to go into my old trick bag and shoot it as an HDR. I had not used the technique for a while, since the acuity of current camera sensors has improved to the point where shooting and blending several bracketed exposures just to reproduce the full dynamic range of tones from dark to light was now as easy as squeezing off a snapshot. But in the case of my library’s longevity leader, I needed the over-accentuated detail that sometimes turned me (and others) against HDR: a look which would record and underscore every defect and scar, freeing them to speak a little louder. Another thing that argued for the technique: years prior, I had made a picture of my wife’s old 45 rpm record storage case, an item similarly, vigorously loved. HDR would deliver the warts-and-all portrayal I was seeking.
In the end I eschewed the full-tilt effect in favor of a milder blend called tone compression, boosting the detail but stopping short of making things too surreal. Finally, I had a picture that made the book look as if it had actually been used, rather than flawlessly archived. I had loved that book into longevity, and now, like the proud lines of survival etched on the face of a human subject, the tome was capable of fully flaunting its flaws.
By MICHAEL PERKINS
ONE OF THE MOST HORRIBLE CONSEQUENCES OF SUBURBAN SPRAWL, beyond the obscene commercial eye pollution, the devastation of open space, and the friendless isolation, is the absolute soulless-ness of the places we inhabit. The nowheres that we live in are everywhere. Wherever you go, there you are. Move three miles and the cycle has repeated. Same Shell stations, same Wal-Marts, same banal patterns.
The title of a classic book on the passing of the star era of Hollywood could also be the story of the end of the great American house: They Had Faces Then.
I believe that the best old houses possess no less a living spirit than the people who live inside them. As a photographer, I seek out mish-mosh neighborhoods, residential blocks that organically grew over decades without a “master plan” or overseeing developer. Phoenix, Arizona is singular because, within its limits, there are, God knows, endless acres of some of the most self-effacing herdblocks created by the errant hand of man, but also some of the best pre-WWII neighborhoods, divine zones where houses were allowed to sprout, erupt, and just happen regardless of architectural period, style, or standard. It is the wild west realized in stucco.
When I find these clutches of houses, I don’t just shoot them, I idealize them, bathing the skies above them in azure Kodachrome warmth, amping up the earth tones of their exteriors, emphasizing their charming symmetries. Out here in the Easy-Bake oven of the desert, that usually means a little post-production tweaking with contrasts and colors, but I work to keep the homes looking as little like fantasies and as much like objects of desire as I can.
One great tool I have found for this is Photmatix, the HDR software program. However, instead of taking multiple exposures and blending them into an HDR, I take one fairly balanced exposure, dupe it, darken one frame, lighten the other, and process the final in the Tone Compression program. It gives you an image that is somewhat better than reality, but without the Game of Thrones fantasy overkill of HDR.
Photography is partly about finding something to shoot, and partly about finding the best way to render what you saw (or what you visualized). And sometimes it’s all about revealing faces.