I don't take very good photos of people when they're posing. The spontaneous photos I take of people, however, tend to be really good.
I have one of my brother I love. It's at his graduation from the University of Hartford. The lighting was bad, and I decided to take without a flash – or a tripod. What resulted what his smiling face in the center of the frame, surrounded on all four sides by the golden blurs of the theater lights bouncing off the mortarboards of those students standing around him.
I have another one I really like of my friend A—. She is photographing a section of the Declaration of Sentiments in Seneca Falls, NY (
see a slideshow I put together of the town). It's a black and white photo, taken from behind her and to her left. She didn't know I was taking it, and it's a positively beautiful picture.
The Lost author Daniel Mendelsohn has traveled to Australia to meet a man who dated one of his long-lost cousins, and meets, as well, others from Bolechow, the town his family came from. Among them is a woman who was a friend of another of his cousins.
Mendelsohn has been carrying around photos of the family he wants so desperately to learn about. And he discovers that what he is carrying around are photographs from someone else's memory.
Unconsciously, I think this is the reason posed photos never look right to me. It's because we're faking the memory. We're not recording something that's happening, we're recording something we've caused.
I suppose this is also why when I set about to sell photos, it surprises me which photos people want. I realize now that it's because the photos I connect to most hold some sort of meaning for me outside the photo, and even if the general mood is conveyed in the photo, the extraneous factors – whom I was with, how I felt, how they felt, what drove me to that particular location – they are all things that never make it through.
Every year Syracuse manages to track down a 60-foot Christmas tree. It sits at the edge of Clinton Square, next to the ice rink. The tree is photographed often, but I have a photo from an unusual angle at an unusual time. It's night, it's snowing, and I'm facing the tree from the middle of Erie Blvd., a full block away from the tree. It's a black and white image, and I could probably make 100 copies and be good on holiday and birthday gifts for a long time.
People love the photo; I do, too.
What the photo can't possibly convey, though, is the calm that lets one stand in the middle of a usually busy street on a weekend night. It doesn't convey the feeling that I just sat through a concert, watching my old friend S— perform while sharing a table with my new friend A—, whom S— had introduced me to. It doesn't convey the frustrated feelings of A&mdash's crushed crush that night. It doesn't convey the crush I had at the time on my new friend. There was a lot of release in that photo. A
lot of release.
But not all of that needs to be conveyed in the photo, because I know there are thousands of other people who have their memories of the tree, of snow, of downtown. And the photo might mean something entirely different to them.
And that's OK.
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Labels: daniel mendelsohn, downtown, photography, photos, the lost