Local residents, fishing village, Sunda Strait, Western Java, mid-1970s, 35mm b/w neg, scan of print. Click to enlarge.
Further to my recent post on eye contact in photography, two photos taken two decades apart on opposite halves of the globe …
Java to Brooklyn
During the second half of the 1970s, while working from the Netherlands for a large international engineering company, I spent repeated months-long stretches in Indonesia documenting oil- and gas-related construction projects, organizing participation in technical conferences, liaising with government agencies, and using my seeming abilities to “go native” and step into the worlds of others to build mutual understanding and confidence and help to win project contracts without resorting to the flagrant corruption that was the calling-card of Western business at the time and that plagued Indonesia in the Suharto era. When I had weekends free, I joined Indonesian colleagues in escaping the noise and congestion of Jakarta. In those days, camera-bearing foreigners were few and far between in non-touristic locales in rural Indonesia and a word of a sincere smile and word of greeting and on the part of an outsider brought very hearty responses in return.
Two decades later, in the mid-1990s, I spent a few years based in my native New York. At the time, American clients and employers were underwhelmed, and even condescendingly contemptuous, towards work experience gained abroad, a reaction seemingly cut from the same cloth as present-day America’s counter-factual preoccupation with denigrating the economic, social, and technical achievements of the European Union. And so, between work assignments and research projects abroad, I temporarily stepped back into the world that had shaped me in the first place — the pre-service-sector, pre-financial-sector New York of small, low-overhead businesses and of heavy physical work, skilled and unskilled — a nostalgic retreat that would be impossible in the face of the high-rent, high-cost-of-living, low-chances-for-mobility economy of present-day New York.
The woman in the photo that follows had just arrived in America and was about to enter the bottom rungs of laboring New York and care full-time for an elderly couple lost in the fogs of Alzheimer’s. An unusually heavy blizzard provided her with her first view of and outing into snow. Indeed, the snow blanketing the great lawn of Prospect Park was so ample and so pristine as to even attract cross-country skiers, one of whom can be seen in the background just to the left of the subject.
Brazilian immigrant encountering first snow fall, Prospect Park, Brooklyn, winter 1995-1996, 35mm b/w negative. Click to enlarge.
Two ways to focus
The fastest way to focus? Well in advance! The photo of the woman in the park was taken with a camera that I miss tremendously: A Minox 35, a tiny 35mm camera, not much taller or thicker, but appropriately wider, than a film cassette and resembling a black plastic, small-scale reproduction of a Zeisss Ikonta, fold-out lens and all. The Minox had an excellent 35mm-focal-length optics and a very accurate aperture-priority metering system, but it offered absolutely no optical focusing aids of any sort, neither split-image nor matte-glass. One focused the Minox by estimate, setting the perceived camera-to-subject distance on the numeric scale on the lens barrel or using the depth-of-field scale to match aperture to hyper-focal distance. The benefits: An uncluttered viewfinder and absolutely no focusing or shutter lag, focus having been set prior to lifting the camera to one’s eye. As to the two ways to focus? One could chose to estimate and set the distance in feet … or in meters!
Two fallible cameras
The downside of the Minox 35 was its delicacy. I went through three in a decade and a half. The metering system failed in one, the shutter in another, and a light leak and faulty film advance mechanism crippled a third. Even less robust, however, was the camera with which I photographed the Javanese villagers, the first iteration of the Olympus OM-1, a camera that was not up to the rigors of the heat and humidity of Indonesia. Within weeks of purchase, the rubber focus grips on the barrels of the Olympus’s lenses (35, 50, and 100mm, as per the classic combination of the time) had come loose and the lens elements of each were obscured by a proliferation of fungus — this quite unlike the medium-format Mamiya and 35mm Canon and Nikon equipment that I’d before and after.
Two worthy links
In my recent post on eye contact (linked to above), I weighed the balance between eye contact drawing out subjects and prompting them to manifest themselves vs. manipulating and overwhelming them with the presence and persona of the photographer.
Last week, I witnessed the transcendence of this dichotomy in an exhibition at Gallery Photosynthesis in Sofia, Bulgaria of near-life-size prints of magnificent, technically-masterful, full-length portraits taken by Bulgarian (Plovdivian/”Filibelı“) photographer Sonya Stankove.
Sonya Stankova took the photos in the late-1980s/early-1990s. At the time, the period immediately after the collapse of the Soviet Bloc, Stankova was working in a photo studio in her native city of Plovdiv, where hundreds of queued each day to have their photos taken for passports required to leave Bulgaria in search of opportunities, real and fantasized, abroad. Every now and then, when a customer struck Stankova’s fancy, she asked if she could take a second photo for her own collection. She would then slide a fresh full-frame sheet of film into the large-format wooden view-camera the studio ordinarily used for passport-sized photos, engage the subject, and squeeze the shutter release bulb, keeping the lens open for an amount of time estimated by intuition. The resulting photos captured the individuality of the subjects and, displayed together, provide a documentary view into the place and time they were taken.
To close, I (figuratively) zoom-out further to consider the ultimate question underlying photography in the digital age, via a link to the eclectic weblog of “The Online Photographer,” master-printer Michael Johnston. The subject: “Why take more photographs at all?”