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LEFTOVERS
Upstairs, Downstairs, 2014. Conceived and planned as a monochrome image. By MICHAEL PERKINS FAR BE IT FROM ME TO DO A HATER NUMBER on photographic post-processing. We often pretend that the act of...
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FULL HEART, EMPTY HEAD
Westerville, Ohio, 2015. 1/250 sec., f/5.6, ISO 100, 35mm. By MICHAEL PERKINS THERE USED TO BE A CARTOON THAT SHOWED A MAN WITH A LITERAL HOLE IN HIS HEAD, described by the caption as being...
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EMERGING
By MICHAEL PERKINS PHOTOGRAPHY CONSISTS OF SELECTED SLICES OF TIME, thin shavings of moments forever taken out of their original contest and preserved as separate, miniature realities. This thing,...
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BREAKING THE GEOMETRY
Zoom (2016) By MICHAEL PERKINS CONTRAST IN PHOTOGRAPHY IS NOT JUST ABOUT A COMPARISON BETWEEN DARK AND LIGHT VALUES. The word contrast also applies to things placed next to each other in a composition...
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COMPOSING ON THE RUN
An instinctual snap: sunset light on a forest path. And that’s that….or is it? My wife enters the frame a second later. By MICHAEL PERKINS LOTS OF OUR BEST PHOTOGRAPHS ARE, EXCUSE THE EXPRESSION, snap...
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THE DREYFUS REFLEX
By MICHAEL PERKINS This is important. This means something…. Roy Neary, Close Encounters Of The Third Kind I HAVE NEVER TRIED TO...
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THE GREAT GIFT OF NOT UN-SEEING
By MICHAEL PERKINS I HAVE THANKED MY WIFE SEVERAL TIMES IN RECENT YEARS for the fact that, for the first time in my life, I am consistently, consciously aware of birdsong. This is no small thing,...
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