By MICHAEL PERKINS
MANY URBAN BUILDINGS FROM THE EARLY 20th CENTURY CAN BE OPEN SECRETS, objects that we walk or drive past with such frequency (and speed) that their most telling elements are often underseen. Certainly, we visually record their larger contours…the block or the spear or the obelisk or the faux cathedral or the Romanesque monument, those general features that figure prominently in long-distance skylines and postcard views. But what remains virtually invisible are what musicians might call the grace notes, the smaller accents and textures that, upon closer inspection, reveal as much, or even more, about the intentions of their makers. And seeking close encounters with these elements can yield great subjects for photography.
More so than with the taciturn minimalism of the post-WWII years, buildings from the 20’s, 30’s, and 40’s were often personal headstones for men who piled up great fortunes, captains of industry who wanted to invest every inch of their towers and spires with references to their beliefs as well as their bank accounts. Lintels, door frames, spandrels, arches, vestibules and cornerstones all bore testimony to company mottoes, symbols of both the modern and ancient worlds, and the idealization of public service. Some lobby mailboxes were invested with more design than a forest-ful of the icy glass boxes of the International period that followed. Often, the founders of a building had a small army of independent artists, from muralists to sculptors, working various sections of the the interiors and exteriors, each with their own unique contribution. Thus, a quick drive-by of a tower in one’s city “that’s been there forever” may not reveal the myriad messages imbedded in areas no bigger than a few square inches, while a dedicated trip for slow-walking and scout work may reward the photographer with a generous dose of time travel. Wonderfully, this can happen in layers, with repeated trips to a building that you thought you’d already “done” yielding additional treasures.
The relief you see in the image at top is repeated over every minor first-floor frame and street entrance of Columbus’ Ohio’s Leveque Tower, which, upon its completion in 1927, briefly enjoyed the distinction of being the fifth tallest building in the world. The property has been generally “preserved” in the current era, but that doesn’t mean it’s come into its second century unscathed, many important exterior and interior features having been removed or lost by owners with a somewhat less than curatorial bent. Ironically, it is the smaller touches on the tower which have remained most intact over the years, including this window frame and its depiction of various virtues of the ideal citizen, including, left to right, healing, the arts, storytelling, and industry. My point is that 99% of every photograph taken of this icon of midwestern design are shot from hundreds, even thousands of feet away, while a stroll past the entrance conjures something far deeper for even the most casual shooter.
Photographing great places is an enormous delight, but also a tremendous responsibility, since our recent history have shown us that nothing made by man will stand forever. That puts us back in the role of chroniclers and archivists, and if we make our pictures carefully, at least the essence of the stories we once told a brick at a time may outlast the dust.
By MICHAEL PERKINS
SOME OF MY URBAN PHOTOGRAPHY COULD POTENTIALLY STRIKE THE AVERAGE VIEWER as somewhat remote, even a bit cold. It flies in the face of some of the universally held “truths” about so-called street photography. Sometimes it doesn’t even have a face. Or faces.
If the best street shooters are thought to reveal truth in the features of the denizens of all those boulevards, then I might really be at a disadvantage, since many of my images are not about faces.
They are, however, about people.
I tend to use passersby, in city pictures, to several ends. beyond the regular kind of unposed portraiture that is standard “street” orthodoxy. One is scale, that is, how they dominate or are diminished by the sheer size or scope of their surroundings. Some cities seem to swallow people, reducing them to anti-sized props in an architect’s tabletop diorama. I try to show that effect, since, as a city dweller, it affects me visually. Other times, I show people completely silhouetted or swaddled in shadow. This is not because their faces aren’t important, but because I’m trying to accurately show their roles as components in an overall choreography of light, as I would a mailbox or a car. Again, the idea is not to avoid or conceal the stories that may reside in their faces, but to also accentuate their body language, how they occupy a space, and, yes, as abstract design elements in a large still life (okay, that sounds a bit clinical).
I certainly bow to the masters whose controlled ambushes of strangers have captured, in candid facial shots, harrowing, inspiring, or amusing emotions that deepen our understanding of each other. You could rattle off their names as easily as I. But using people in pictures isn’t only a miniature invasion into their features, and certainly isn’t the only way to depict their intentions or dreams.
And then there is the other problem for the street portraitist, in that some faces will remain ciphers, resisting the photographer’s probe, explaining or revealing nothing. In those cases, a face poses more questions than it answers. As usual, the argument is made by the individual picture.
By MICHAEL PERKINS
PHOTOGRAPHY IS AN EFFECTIVE WAY TO MEASURE MAN’S RELATIONSHIP to his physical environment, giving us the distance we need to see these arrangements from a more objective distance. People design places in which other people are to live and work, but once these plans get off the drawing board, it can become unclear what people’s place in the whole puzzle was intended to be.
More to the point, there is real picture-making potential in the occasional mis-match between what we design and how we fit into it. Some things that seem terrific to the people on the planning board seem cold or intimidating to regular users once they’re actually built. Seeing us try to find our place in things that are really inhospitable can be visually interesting because it makes us look and feel somewhat alien. We can become oddly placed props in our own projects, as the places made to house our dreams look more like warehouses for our nightmares.
Of course, one man’s horror is another man’s heaven, a rule that has certainly been constant over the history of innovation. That means, artistically, that we can wind up, inevitably, making images that start arguments, which is, I believe, the perfect function for art anyway. It’s one thing to smear a daub of paint on a canvas and lacerate someone’s vision with it. After all, you can abandon the painting, leave the gallery, etc. But if the building that was meant to be the gallery seems like a bad fit for you as a human being, that’s something else entirely.
The right compositions with the right lenses deliver stark visual messages about how we slot ourselves into the world we’ve created. Sometimes we make a statement for the ages. Sometimes we erect mouse mazes. Either way, there’s a picture in the process.