A THOUSAND WORDS - Alex Waterhouse-Hayward's blog on pictures, plants, politics and whatever else is on his mind.




 

Advice to a Young Photographer from an Old One
Saturday, March 25, 2017





La Recoleta — Buenos Aires April 2016

When a new friend in Medium asks me for photographic advice I find it hard to respond. As an old obsolete-redundant and retired (soon to be a country song!) magazine photographer and journalist from an era in the 20th century when I was paid to go to many cities of the world It is difficult to give out advice without feeling smug.

I will try not to be smug.

In the mid 80s writer Les Wiseman and I (we both worked for a healthy Vancouver Magazine) decided to expand our horizons by going to New York City in search of work. We went to Rolling Stone, Esquire Magazine and Trowser Press. Only the latter ever gave us any paying work. The folks (at least the art director) at Rolling Stone had a telephone screening process. I was asked if I had any concert shots of rock bands. My negative answer passed muster and I saw the art director who told me, “Your photographs taken back stage and in hotel rooms are excellent but currently we are not interested in any Canadian bands and that includes Red Rider.” At Esquire we saw the now legendary editor Adam Moss. He told us he liked our work but added that both Joe Clark and Brian Mulroney were boring and he could not think of anything in Canada that would interest Esquire. And that was it and we returned to Vancouver.




The Cramps


But what I learned from Rolling Stone I can pass here as advice. It may seem complicated but it is really not. The Holy Grail of photography for me is to develop a distinct personal style. This is tough if you shoot street scenes and bands in concerts. Your mike shot is not going to look any different from someone else’s. Street photography had style (it was unique then) when Cartier-Bresson pioneered it. Of present street photographers I can only cite that I admire(she is dead now) Mary Ellen Mark.

If you attempt to shoot Ansel Adams landscapes it really has been done and done well. My advice to myself when I see a lovely landscape is to buy a postcard. I feel the same about that terrible photographic term “to record” as in “I am recording the fire plugs of the Bronx”.

What I am driving at is that for me the search for that unique personal style found me in front of people whose portraits I took with a medium format camera and with seriously big lights.
That has changed in that actors, rock stars, film directors no longer give access to photographers and writers in a physical environment. It now happens with phones, Skype, email or Whatsapp.

Since I began professionally in 1975 I had the only option of film. I developed my own style of shooting my films of choice and I interpreted my b+w and colour negatives in my own darkroom. In the 20th century magazines demanded (before the advent of the scanner) slide film and larger slide film called transparency. An art director wanted to see the original which was the personal interpretation of the individual photographer. That aspect of photography is gone.

My only advice would be to find something that nobody else is doing and do it.

As for cameras the Nikon FM-2 always served me well. I own three. I also have a Pentax MX mated to a remarkable 20mm wide angle that is so rectilinear that used carefully nobody would suspect a wide angle has been used. A year ago my wife and I moved from a large house (with an excellent darkroom) to a small duplex without one. I have learned to use a Canon Pro-1 inkjet printer and with my Epson Perfection V700 Photo scanner I am able to get very good scans of all my film photographs and printed 8x10s. It was my wife Rosemary who “forced” me to buy a digital camera three years ago. I got very good advice at Leo’s Camera in Vancouver and purchased a Fuji X-E1. I have a safe sync adapter so I can use my studio lights with the camera. Its ability to shoot panoramics is a positive added asset.

I just returned from a two-week trip to my hometown of Buenos Aires. The Fuji worked beautifully. I had an extra battery and charger. Every few days I would switch to a new storage card (just in case).
My Photoshop is a 13 or 14 year-old one. It has the one feature I could not do without. It is called Shadow/Highlight. I use the more extensive option. It can bring detail (that has always been there) in my slides and negatives. For “fixing” some of my pictures I use the very cheap and excellent Corel Paint Shop Pro X2. Unlike most anybody else I shoot jpgs.

A useful tool to accurate exposure is a good Minolta flash/exposure meter. I have two IIIs.
A friend of mine has often said that one of the surest ways of improving a photograph is to use a tripod. Because m y workhorse is a Mamia RB-67 Pro SD a tripod is a necessity. When I use my Fuji I still use the tripod (in a studio situation) so I can carefully frame my shots. This cannot be done well if you shoot loose.

Any photographer should remember that like a gunfighter one is as good as one’s last shot.
Here is one of mine taken two weeks ago in Buenos Aires with my Fuji. I felt a bit restrained by having to use window lighting! :




Macarena Aldama 0 Bella Vista, Provincia de Buenos Aires March 2017

The photograph in the beginning of this essay is an example of one of the few street shots I do. This only happens when I travel. I was at the Buenos Aires cemetery of La Recoleta when I noticed this woman with the violet hair. I was ready to shoot and when I pressed the shutter my Argentine painter friend Nora Patrich moved into the frame and “ruined it”. Once I saw the resulting exposure I realized that Patrich saved it!



Las Veredas (Ínfimas) de Buenos Aires
Friday, March 24, 2017


Florida y Viamonte


Lauren on Calle Corrientes on an uncharacteristicaly pristine vereda.  Buenos Aire March 2017




In English you have a sidewalk. In Spanish Castilian you have the cold acera and in Mexican Spanish the unwieldy banqueta. In Argentina we have the far sweeter vereda. Strangely a Mexican composer wrote Vereda Tropical, lyrics and link below

Vereda Tropical

Voy por la vereda tropical

La noche plena de quietud

Con su perfume de humedad

En la brisa que viene del mar

Se oye el rumor de una canción

Canción de amor y de piedad

Con ella fui

Noche tras noche, hasta el mar

Para besar su boca fresca de amor

Y me juró quererme más y más

Y no olvidar jamás

Aquella noche junto al mar

Hoy solo me queda recordar

Mis ojos…

¿Por qué se fue?

Tú la dejaste ir, vereda tropical

Hazla volver a mí

Quiero besar su boca

Otra vez junto al mar

Vereda tropical

Songwriters: Gonzalo Curiel

Vereda Tropical lyrics © Peermusic Publishing

Calle San Martín

A sidewalk by the sea shore (in a city) has the nice sounding word malecón. Havana has its malecon as does Veracruz, but Barcelona, to be different has Las Ramblas.

Back to veredas. Since I can remember my Buenos Aires has always had sidewalks that are tiled. These tiles are called baldosas in Argentina even though we all know that the beautiful tiles from Spain or Talavera in Guadalajara, Mexico are called azulejos.

From the moment I notice women in Buenos Aires I had a fantasy that I shared with many boys my age. This was to wait outside our homes on a rainy day and watch for a young woman in heels walk by and step on the many loose baldosas (then and now in 2017). She would step on that lucky (for us) baldosa and water would skirt up her skirt! I have no need to go any further as to mention what the young woman would do next.

If I can be frank about the state of affairs with my hometown is that something has not changed. If anything the situation is worse. The lovely and romantic veredas of Buenos Aires are a mess. It was particularly difficult for my wife Rosemary who now walks with a cane to navigate these veredas.

It seems that as soon as a vereda is repaired, within days a pipe bursts and…

The freeways (there are many and all are tolled) of Buenos Aires are in excellent shape as well as most streets. Sidewalks are not. It immediately came to mind that Vancouver is the opposite. Are sidewalks are nice while our streets are in terrible shape.

Tucumán corner with San Martin

The folks who lived (are they still there?) on Burrard from Drake, south all the way to about 16th have suffered for more than a year with a closed road. Even side streets are blocked. There is that stretch from Drake to Pacific that has been two narrow lanes now for over a year. The city does not tell us why or for how long this will last. My suggestion is to import ancient Egyptians (if any un-mummified ones can be found) and if they could build the pyramids in under a century perhaps they could do better at Burrard and Pacific.

Tucumán and San Martin, our hotel, the Claridge on the left right after the tall building

As terrible as Buenos Aires veredas are and can be it had to be Julio Cortázar who would write a delightful poem about them.


Veredas de Buenos Aires – Julio Cortázar


De este texto nació un tango,
Con música de Edgardo Cantón

De pibes la llamamos la vedera
y a ella le gustó que las quisiéramos.
En su lomo sufrido dibujamos
tantas rayuelas.

Después, ya más compadres, taconeando.
dimos vueltas manzana con la barra,
silbando fuerte para que la rubia
del almacén saliera a la ventana.

A mí me tocó un día irme muy lejos
pero no me olvidé de las vederas.
Aquí o allà las siento en los tamangos
como la fiel caricia de mi tierra.

Sidewalks of Buenos Aires

When we were little we called it the walkside
and it liked the way we loved it.
On its suffering back we drew
so many hopscotch squares.

Later, full of ourselves, boot heels rapping,
the gang of us would strut around the block
whistling as loud as we could so the blonde
at work would come to the window of her shop.

One day my turn came to go far away
but I never forgot the walksides.
Here or there I feel them in my boots
like the faithful touch of my land.


Impossible to translate is the modified use of vereda by Cortázar as vedera. Argentines like to do this so a café con leche becomes a feca con chele. The almacén of the poem is translated to shop. Not correct. An almacén was usually a corner grocery store run by a crusty Galician from Spain. It was in the almacén on the corner near my house that in 1949 and 1950, Julio Cortázar, a friend of my father's would send me for his brand of cigarettes, Arizonas. The crusty man was called Don Pascual.



La Pelirroja en La Plaza San Martín
Thursday, March 23, 2017



 
Plaza San Martín - March 2017

Romina Fabbretti




La Plaza San Martín – Jorge Luís Borges
A Macedonio Fernández

En busca de la tarde

fui apurando en vano las calles.

Ya estaban los zaguanes entorpecidos de sombra.

Con fino bruñimiento de caoba

la tarde entera se había remansado en la plaza,

serena y sazonada,

bienhechora y sutil como una lámpara,

clara como una frente,

grave como un ademán de hombre enlutado.

Todo sentir se aquieta

bajo la absolución de los árboles

—jacarandás, acacias—

cuyas piadosas curvas

atenúan la rigidez de la imposible estatua

y en cuya red se exalta

la gloria de las luces equidistantes

del leve azul y de la tierra rojiza.

¡Qué bien se ve la tarde

desde el fácil sosiego de los bancos!

Abajo

el puerto anhela latitudes lejanas

y la honda plaza igualadora de almas

se abre como la muerte, como el sueño.








La pelirroja

“algunas veces te odio”

dijo muy suelta de cuerpo



se sentó en la galería

leyendo los poemas de Catulo

permaneció una hora ahí

con mi libro en sus manos



hombres y mujeres

pasaban frente a mi casa

preguntándose

de dónde un viejo feo

hallaba tanta belleza



esa pregunta

tampoco la puedo contestar

yo



luego

entró

en la casa



cuando se acercó a mi sillón

la agarré del brazo

y la senté sobre mis muslos

tensos



levantando mi copa

le dije:

“tomá

un trago”



“otra vez vino con güisqui

espero que no te pongas pesado

con estas mezclas que hacés”



“decíme la verdad

¿te teñís el pelo?”

le pregunté



“cierra los ojos

no mires”

“ahora abrílos”

dijo suavemente



estaba parada

delante de mí

los pantalones en el piso

el calzon en la mano

y lo juro

su vello púbico

era del mismo color

que su cabello



ni el viejo Catulo

podría haber deseado

tanta

y maravillosa belleza

antes

de volverse senil

por muchachos tiernos

que no poseen

la necesaria locura

para transformarse en mujeres.

Charles Bukowski




La Diosa Leontocéfala
Wednesday, March 22, 2017





Anoche te soñé
sacerdotisa de Sekhmet, la diosa leontocéfala.
Ella desnuda en pórfido,
tú tersa piel desnuda.

Cinco ultimos poemas para Cris – Julio Cortázar



     

Previous Posts
David Macgillivray Meets My Sword Excalibur

Baroque Pearls & José Benito de Churriguera

Leonard George Did Not Make It To Spring

Jonas - Good Joby!

The Vivaldi Gloria, Alice Cooper, Igor Stravinsky ...

No vuelven nunca más.

Despised & Rejected Superbly

Olena & My iPhone3G

Style Observed

Sandrine Cassini - Dancer - Woman



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7/29/12 - 8/5/12

8/5/12 - 8/12/12

8/12/12 - 8/19/12

8/19/12 - 8/26/12

8/26/12 - 9/2/12

9/2/12 - 9/9/12

9/9/12 - 9/16/12

9/16/12 - 9/23/12

9/23/12 - 9/30/12

9/30/12 - 10/7/12

10/7/12 - 10/14/12

10/14/12 - 10/21/12

10/21/12 - 10/28/12

10/28/12 - 11/4/12

11/4/12 - 11/11/12

11/11/12 - 11/18/12

11/18/12 - 11/25/12

11/25/12 - 12/2/12

12/2/12 - 12/9/12

12/9/12 - 12/16/12

12/16/12 - 12/23/12

12/23/12 - 12/30/12

12/30/12 - 1/6/13

1/6/13 - 1/13/13

1/13/13 - 1/20/13

1/20/13 - 1/27/13

1/27/13 - 2/3/13

2/3/13 - 2/10/13

2/10/13 - 2/17/13

2/17/13 - 2/24/13

2/24/13 - 3/3/13

3/3/13 - 3/10/13

3/10/13 - 3/17/13

3/17/13 - 3/24/13

3/24/13 - 3/31/13

3/31/13 - 4/7/13

4/7/13 - 4/14/13

4/14/13 - 4/21/13

4/21/13 - 4/28/13

4/28/13 - 5/5/13

5/5/13 - 5/12/13

5/12/13 - 5/19/13

5/19/13 - 5/26/13

5/26/13 - 6/2/13

6/2/13 - 6/9/13

6/9/13 - 6/16/13

6/16/13 - 6/23/13

6/23/13 - 6/30/13

6/30/13 - 7/7/13

7/7/13 - 7/14/13

7/14/13 - 7/21/13

7/21/13 - 7/28/13

7/28/13 - 8/4/13

8/4/13 - 8/11/13

8/11/13 - 8/18/13

8/18/13 - 8/25/13

8/25/13 - 9/1/13

9/1/13 - 9/8/13

9/8/13 - 9/15/13

9/15/13 - 9/22/13

9/22/13 - 9/29/13

9/29/13 - 10/6/13

10/6/13 - 10/13/13

10/13/13 - 10/20/13

10/20/13 - 10/27/13

10/27/13 - 11/3/13

11/3/13 - 11/10/13

11/10/13 - 11/17/13

11/17/13 - 11/24/13

11/24/13 - 12/1/13

12/1/13 - 12/8/13

12/8/13 - 12/15/13

12/15/13 - 12/22/13

12/22/13 - 12/29/13

12/29/13 - 1/5/14

1/5/14 - 1/12/14

1/12/14 - 1/19/14

1/19/14 - 1/26/14

1/26/14 - 2/2/14

2/2/14 - 2/9/14

2/9/14 - 2/16/14

2/16/14 - 2/23/14

2/23/14 - 3/2/14

3/2/14 - 3/9/14

3/9/14 - 3/16/14

3/16/14 - 3/23/14

3/23/14 - 3/30/14

3/30/14 - 4/6/14

4/6/14 - 4/13/14

4/13/14 - 4/20/14

4/20/14 - 4/27/14

4/27/14 - 5/4/14

5/4/14 - 5/11/14

5/11/14 - 5/18/14

5/18/14 - 5/25/14

5/25/14 - 6/1/14

6/1/14 - 6/8/14

6/8/14 - 6/15/14

6/15/14 - 6/22/14

6/22/14 - 6/29/14

6/29/14 - 7/6/14

7/6/14 - 7/13/14

7/13/14 - 7/20/14

7/20/14 - 7/27/14

7/27/14 - 8/3/14

8/3/14 - 8/10/14

8/10/14 - 8/17/14

8/17/14 - 8/24/14

8/24/14 - 8/31/14

8/31/14 - 9/7/14

9/7/14 - 9/14/14

9/14/14 - 9/21/14

9/21/14 - 9/28/14

9/28/14 - 10/5/14

10/5/14 - 10/12/14

10/12/14 - 10/19/14

10/19/14 - 10/26/14

10/26/14 - 11/2/14

11/2/14 - 11/9/14

11/9/14 - 11/16/14

11/16/14 - 11/23/14

11/23/14 - 11/30/14

11/30/14 - 12/7/14

12/7/14 - 12/14/14

12/14/14 - 12/21/14

12/21/14 - 12/28/14

12/28/14 - 1/4/15

1/4/15 - 1/11/15

1/11/15 - 1/18/15

1/18/15 - 1/25/15

1/25/15 - 2/1/15

2/1/15 - 2/8/15

2/8/15 - 2/15/15

2/15/15 - 2/22/15

2/22/15 - 3/1/15

3/1/15 - 3/8/15

3/8/15 - 3/15/15

3/15/15 - 3/22/15

3/22/15 - 3/29/15

3/29/15 - 4/5/15

4/5/15 - 4/12/15

4/12/15 - 4/19/15

4/19/15 - 4/26/15

4/26/15 - 5/3/15

5/3/15 - 5/10/15

5/10/15 - 5/17/15

5/17/15 - 5/24/15

5/24/15 - 5/31/15

5/31/15 - 6/7/15

6/7/15 - 6/14/15

6/14/15 - 6/21/15

6/21/15 - 6/28/15

6/28/15 - 7/5/15

7/5/15 - 7/12/15

7/12/15 - 7/19/15

7/19/15 - 7/26/15

7/26/15 - 8/2/15

8/2/15 - 8/9/15

8/9/15 - 8/16/15

8/16/15 - 8/23/15

8/23/15 - 8/30/15

8/30/15 - 9/6/15

9/6/15 - 9/13/15

9/13/15 - 9/20/15

9/20/15 - 9/27/15

9/27/15 - 10/4/15

10/4/15 - 10/11/15

10/18/15 - 10/25/15

10/25/15 - 11/1/15

11/1/15 - 11/8/15

11/8/15 - 11/15/15

11/15/15 - 11/22/15

11/22/15 - 11/29/15

11/29/15 - 12/6/15

12/6/15 - 12/13/15

12/13/15 - 12/20/15

12/20/15 - 12/27/15

12/27/15 - 1/3/16

1/3/16 - 1/10/16

1/10/16 - 1/17/16

1/31/16 - 2/7/16

2/7/16 - 2/14/16

2/14/16 - 2/21/16

2/21/16 - 2/28/16

2/28/16 - 3/6/16

3/6/16 - 3/13/16

3/13/16 - 3/20/16

3/20/16 - 3/27/16

3/27/16 - 4/3/16

4/3/16 - 4/10/16

4/10/16 - 4/17/16

4/17/16 - 4/24/16

4/24/16 - 5/1/16

5/1/16 - 5/8/16

5/8/16 - 5/15/16

5/15/16 - 5/22/16

5/22/16 - 5/29/16

5/29/16 - 6/5/16

6/5/16 - 6/12/16

6/12/16 - 6/19/16

6/19/16 - 6/26/16

6/26/16 - 7/3/16

7/3/16 - 7/10/16

7/10/16 - 7/17/16

7/17/16 - 7/24/16

7/24/16 - 7/31/16

7/31/16 - 8/7/16

8/7/16 - 8/14/16

8/14/16 - 8/21/16

8/21/16 - 8/28/16

8/28/16 - 9/4/16

9/4/16 - 9/11/16

9/11/16 - 9/18/16

9/18/16 - 9/25/16

9/25/16 - 10/2/16

10/2/16 - 10/9/16

10/9/16 - 10/16/16

10/16/16 - 10/23/16

10/23/16 - 10/30/16

10/30/16 - 11/6/16

11/6/16 - 11/13/16

11/13/16 - 11/20/16

11/20/16 - 11/27/16

11/27/16 - 12/4/16

12/4/16 - 12/11/16

12/11/16 - 12/18/16

12/18/16 - 12/25/16

12/25/16 - 1/1/17

1/1/17 - 1/8/17

1/8/17 - 1/15/17

1/15/17 - 1/22/17

1/22/17 - 1/29/17

1/29/17 - 2/5/17

2/5/17 - 2/12/17

2/12/17 - 2/19/17

2/19/17 - 2/26/17

2/26/17 - 3/5/17

3/5/17 - 3/12/17

3/12/17 - 3/19/17

3/19/17 - 3/26/17

3/26/17 - 4/2/17

4/2/17 - 4/9/17

4/9/17 - 4/16/17

4/16/17 - 4/23/17

4/23/17 - 4/30/17

4/30/17 - 5/7/17

5/7/17 - 5/14/17

5/14/17 - 5/21/17

5/21/17 - 5/28/17

5/28/17 - 6/4/17

6/4/17 - 6/11/17

6/11/17 - 6/18/17

6/18/17 - 6/25/17

6/25/17 - 7/2/17

7/2/17 - 7/9/17

7/9/17 - 7/16/17

7/16/17 - 7/23/17

7/23/17 - 7/30/17

7/30/17 - 8/6/17

8/6/17 - 8/13/17

8/13/17 - 8/20/17

8/20/17 - 8/27/17

8/27/17 - 9/3/17

9/3/17 - 9/10/17

9/10/17 - 9/17/17

9/17/17 - 9/24/17

9/24/17 - 10/1/17

10/1/17 - 10/8/17

10/8/17 - 10/15/17

10/15/17 - 10/22/17

10/22/17 - 10/29/17

10/29/17 - 11/5/17

11/5/17 - 11/12/17

11/12/17 - 11/19/17

11/19/17 - 11/26/17

11/26/17 - 12/3/17

12/3/17 - 12/10/17

12/10/17 - 12/17/17