Taste of Uruguay: Navigating a Portrait

It was hours before the big show. The post breakfast drowsiness compounded by the sun through car windows as Martin navigates the streets of Montevideo. We have a plan. “These guys are going to be getting ready and we will try to get permission to photograph.” Flashes of light and dark, searing sun and reflections of inverted buildings. I close my eyes. Four of us, all waiting to see what we will see or what we won’t. “Llamadas” approaches but we want to “set the table” beforehand. We need to BUILD this story and body of work. We are here for about ten days, maybe more, and can only hope for so much. Little victories are what matters. We mostly ride in silence. Martin parks and we spill out of the tiny car. The scene is slow, mellow and movements can be FELT. There is no secret, we are all here to work, to make pictures and fortunately for us they are game to play. There is an inside area and an outside area, both with decent to good light. The sun is still high so the people outside hunt for shade. This is good for us. I start with the Leica, almost to get them used to me, but with the color and paint I know I want the square.



“Can I make your portrait?”
It begins. Open shade, broad light over my shoulder and now all I have to think about is focus and my composition. The square solves a lot of things for me, after all, it’s square. CLUNK, WIND, CLUNK, WIND. I’m wide open, at 2.8 and I’m at close focus. I only want his eyes sharp. At frame twelve I need to reload and the great dance begins. Flip the lever out, wind until I hear the leader come free, twist the side door, pull out the insert, unhinge the film, spool it tight, then slowly, VERY slowly lick the tape. This NEVER fails to get people involved. “Did you just lick that?” “Yes.” Take out new roll, pull off the tape, invert and load into the insert, spool the end, twist tight, insert the holder, close the back and wind until it stops. Pull the dark slide. “Listo?” I ask and move in again.

These images are not really up to me. I begin by putting myself in position but the rest comes from the other side of the lens. The first shot is serious with intensity in the gaze. During the second shot the serenity and connection are broken as someone from the edges says something. Like cracking through a sheet of ice. The genie is out of the bottle and now I can only react. If I force it and ask him to settle back into me it won’t work. The magic is gone, so I just stop talking and keep shooting. It’s nice for me. I like to be here, but invisible to those around me. I can have conversations with myself, or daydream, while I’m working. It’s part of being on the road, and part of life behind the lens.

Make it count. There is no need to shoot endless imagery. Ever been on the other side of the camera? “Relax and just be normal.” Impossible. It’s all artificial, we either both accept the game or we don’t bother playing. This is your chance to act and it’s the same for them. They are not themselves, not during these little moments. They are actors in the world stage and for just a brief moment I am the conductor, the composer or the chief mechanic. They don’t really know what it is I’m attempting to do. I must relay this by speech and emotion. Win them over, get them on my side and do to them what I need to do. Sometimes it feels good, other times no so much, but the internal battle is what makes it all interesting. And then suddenly it is gone. If it went well the memory alone will fuel you to the next encounter, and if it went poorly it can stain your mental existence for days, weeks, even longer perhaps. Fragility is real but worth continual exploration. Is it good enough? Am I good enough? Does any of it matter? There is a weight to the exposed film and comforting to look down and see the rolls piling up. I can’t see it, but I can feel what I have or what I missed. I try to be in the moment but my mind begins to build the mental puzzle of imagery. What pieces still remain?

As I close my eyes I see light blue and the stars upon a face.

Super Dynamite Update

The great thing about kids is that you can convince them to do about anything when it comes to getting photographs. A piece of glass to press your face up against, a puddle to jump in or maybe even a screen door to get behind. Super Dynamite was in town and I took the opportunity to make a few pictures. Very few actually. This entire edit was ONE frame, the one you see here. Oh well, win some, lose some. One is enough for me.

“Press your face up against that screen.”

“No, I don’t want to.”

“DO IT!”

“Okay.”


These last two images are with the M9 at 640 ISO. This camera is VERY sharp. I hear a lot of talk in regard to high ISO with digital cameras and the ability to shoot at speeds upwards of 25,000. I guess that is great. Personally, I’ve never had a need or desire to do that. As you know by now, I’m an oddball. With digital I RARELY shoot over 640. Digital sees in the dark, WAY beyond film, so if I can’t shoot it at 640 ISO and 1.4, I’m probably not going to shoot it. In most cases with digital I don’t go over 320 ISO, including all those weddings I did over the years. I’d go to 320 ISO and pop in a little strobe. The M9 is razor sharp at these speeds, probably higher if you feel the need.