BY MICHAEL PERKINS
I NEVER EXPECTED MY APPROACH TO PHOTOGRAPHIC TECHNIQUE to actually become less rigid as I veered into my, er, golden years. For years, I’ve feared that either technical challenges or life bias or just my own stubborn cussedness might make me tend to cling to established rules in a way that would stunt my late-stage growth. After all, we all like to feel that an underpinning of of our accumulated experiences and habits will ensure consistent, if not spectacular picture making, as if it’s our reward for a lifetime of playing by the rules. And yet, somehow, I seem to be experiencing, at present, a kind of Year Of Going For Broke, a feeling of being comfortable being uncomfortable. I like flying without a net. Instead of worrying about whether an image will technically “work out”, I’m find myself more concerned with whether it emotionally works.
It’s not that I care so much less about what I used to think of as “precision”: it’s more that the term now means something different from mere technical recording of what is in front of me. We start off as photographers by trusting the camera to do the heavy lifting: we end, if we’re fortunate, by placing that burden on ourselves.
Looking at the pictures that I’m content with over the past few years, I see a curve toward much more instinctual shooting. Some of this is because technical advancements have made preparing to take picture ever easier and faster. That means that the gear is responsive enough to “save” more shots that would have been lost in earlier years. The evolution of increasingly better sensors, for example, has emboldened me to at least try shots that, in the film era, I would have avoided as impossible. Nabbing the shot you see here with a handheld camera would have been a fantasy for me prior to about 2000. Today, while not technically perfect, such a shot is (a) achieveable and (b) close enough to what I envisioned that I’m encouraged to keep trying for these kinds of pictures.
But I don’t want to be unclear: I’m not shooting looser just because equipment can compensate for my lack of skill or bad judgement. It’s more like my learning to let go of ultra-rigid ways of seeing is partnering with technology that encourages me to peace the hell out. That’s due in part to the example of a new kind of photographer, one borne of the cellphone era. I want to pay tribute to that person in some detail, and I will, in the very next post.
By MICHAEL PERKINS
GIVEN THAT THERE’S AN ELEMENT OF CHANCE in even the most carefully planned photographs, it’s tempting for me to think of some pictures as pre-existing, like a piece of fruit that might well hang on a tree forever unless you happen to walk by and pick it. People sometimes refer to such images as being “captured”, but maybe “harvested” is a better word.
That would explain the photographs that you don’t, or can’t plan, the ones that are unbidden but also undeniable. Of course you don’t ever have to take a picture, but under the right circumstances it can sure feel that way.
Which leads me to this image. I don’t understand a thing about it except that I had to take it. I can’t offer a thrilling backstory about its creation because I wasn’t its “creator”. I likewise can’t offer a thoughtful analysis or provide the illuminating context that makes its message shine forth. Honestly, this picture isn’t “about” anything, despite the fact that I’d love to spin you a thrilling tale, some revelatory saga that reflects my sheer genius. But eventually, the picture isn’t anything but, well, this picture.
In an instant, as happens to everyone, I had a second to decide to buy or not buy, and I bought. God knows why. We all love to think that everything in art happens for a reason, as part of a plan. We can often shy away from “pure” or “absolute” photography, but, if we’re honest, we can’t explain all of the images we harvest/capture/ stumble onto. We love to think we’re always in charge of our process.
But guess what……