Final Analysis
‘Paul McCartney’ 2007, by Phil Griffin
There are at least three kinds of inspiration. First, you may see a style or genre or subject you have never really considered before, and think, ‘I want to do that!’ Second, you may see something you have already attempted and think ‘OK, I see why my pictures aren’t as good.’ Third comes negative inspiration, also known as realism: ‘Although I like this picture, I am unlikely ever to emulate it.’ This may include genres you have given up, or subjects you’d prefer to admire in either real life or pictures, rather than shoot.
For me, this picture partakes of all three. Perhaps to the surprise of some readers, I was once young and have done a few more or less competent pictures of fairly similar subjects: principally, Bristol-based band Essential Bop and various poets, especially the poet, singer and songwriter Cath Milne. If I’d looked harder at pictures like this, I might have done them all more justice.
It comes from ‘Unseen Icons by Phil Griffin: 25 Years in Film & Photography’: an exhibition running until 23 November at the Brownsword Hepworth Gallery in London. While I was waiting for a copy of the picture, I bought a book of Chinese-inspired ink-brush drawings of cats. Each was reduced to a few essential lines. Looking at the two together (and without the slightest disrespect to either), these are the messages I took away.
First, while it is all too easy to provide counter-examples to Ludwig Mies van der Rohe’s celebrated ‘Less is More’, there are also plenty of times when it is true. Our brains supply the links. Is his left hand truly detached? Of course not. An excess of literalism is often fatal.
Second, although there is almost invariably more in a photograph than in a pen-and-ink drawing, the eye is selective. Unless we are guitar aficionados, for example, we are unlikely to look particularly closely at the guitar.
Third, look at other media than photography: ink drawings, paintings, even poetry. Learn what’s important. Learn what to leave out.
The fourth point amalgamates the second and third. McCartney’s face is very human, very recognisable, but still less than fully revealed either physically or emotionally; he is almost hiding behind the guitar. His hands tell us a lot, too. If you want to study music photography, cut this out and pin it over your desk. If you can afford it, go to the exhibition and buy an original print. Look at it every day. Meanwhile, take as many pictures as possible of musicians, poets and other performers.