Young Student, Fence, The Northern Road, The Gambia, 2006

Some I will never see again, and she is one of them.

On our way to the coast from the interior of The Gambia, we stopped at one very small village as children were heading home from school. All of them were standing by the side of the road, under a large tree and in front of this incredibly beautiful fence.

We were outside of our comfort zone, in another country and in front of so many people. With the help of our translator we managed to speak to a few people and organized the children for photography. We used the indirect light of the sun, and the shade of the tree. The background chosen was that sweet fence, and we managed to work for perhaps a half an hour before heading back on our way to the coast.

The previous day our driver decided to change plans, and head to the interior from our agreed upon coastal path to The Gambia. It sounded good to us, we would see more of Senegal and perhaps get some photography accomplished in a spontaneous way. What we thought would be a leisurely drive ended up being a speedy run to the eastern portion of The Gambia, so that we could reach his family's village before nightfall. This seemed to be an amazing coincidence and we soon realized that such was the reason for the change in plans.

Opportunities to photograph whirled by us, and we were just happy to arrive in the middle of the night to our destination. Our driver dropped us off at a motel without a single light in sight, complete darkness, and then headed out to his family's home to stay for the night. We were shown to our separate rooms, my friend and I. The rooms were dark and lit by a single candle. We cleaned ourselves in our rooms and went to sleep quickly before the candles lost their flames.

The next day we woke up for our sixteen hour journey to the coast, a journey the driver thought would take perhaps ten hours. As the manager of the motel saw us get into the compact car, he smiled a bit and expressed his uncertainty at the car's ability to get us to the coast in one piece. We thought he was joking but ended up experiencing the worst road of our trip for the next dozen or so hours.

Along the way this portrait was made, and was worth every single bump, every single bit of grain entering my system through my nostrils and mouth. Looking back today I just laugh at the experience and my reactions to it.

For more images like the one above, please visit the newly designed website below.

Halim Ina Photography

Markeya Carlita, The Film Images, El Mirage Dry Lake Bed, Los Angeles, California, September 16, 2012

These are a sampling of the film images from my session with Markeya Carlita at El Mirage Lake, just outside of Los Angeles. This was my third time at this location in less than one week and, with great thanks to the officials on the property, we were able to find a secluded spot far away from the recreational activities for which this lake bed is known.

We parked on private property just outside of the lake bed, with the generous owner giving us his permission to do so. I set the equipment up, while Markeya and her dear good friend went about arranging the various outfits for the session. She brought a suitcase holding an incredible amount of clothing, everything from heels to jackets to dresses to various accessories, all to the specifications agreed upon before this meeting.

The sky was clear and the sun just perfect. We worked slowly, beginning with the more abstract positions, then moved onto the closer, more intimate portraits. Markeya never did stop, she moved from one creative position to another at the sound of the shutter being released. She did so without complaining, but rather saw this an opportunity to create a magical body of images.

In between changes, we admired the silence of the place... and the magnificence of the lake surface. It seemed that someone must have come beforehand and swept it for the session. The small tumble weed from a few days earlier was still there, and reminded me that perhaps we have found the perfect studio for my time in Los Angeles.

Halim Ina Photography

Young Ballerina, Pan American Stadium, Statues of Athletes, La Habana, Cuba, July 28, 2012

I remember the moment when I first met this young ballerina. It was four years ago and in the midst of perhaps four dozen people in the square of a famous ballet school. I happened to pass by the school while looking for a space to photograph someone else.

In my midst all of a sudden were perhaps two dozen ballerinas. All of them of course were dressed in ballet outfits with various designs, dark and simple. Their hair was perfectly in place, and they were waiting for their classes to begin. Most of the girls were grouped in smaller circles chatting with their friends, while the parents did the same with each other.

Long story short, I found the courage to talk to a few of the parents and gain their trust. In a very public space they then allowed me to arrange their daughters against a white wall and photograph them for a few minutes each. A dozen girls agreed to be photographed, including the young ballerina in the above image. I think that many more would have agreed, but they soon disappeared inside the school to attend classes.

Over the next four years the original ballerinas were discovered once again and multiple sessions undertaken to document their stories. The young girl in the above image is one such person, and this past July was my fourth summer with her and her family since that very first one. Every year has brought me closer to her, and she has opened up more and more with each session.

In July we collaborated over six times, including the very last afternoon of my visit to the island. On this day we were handing out the photographs to all of the families, including hers. We still had a few families to visit when she asked if we were going to work with her later in the afternoon. Alejandro and I looked at each other and told her that we would if we were finished delivering the photographs and if the sun was shining.

I still had perhaps twenty rolls of film and was hungry to expose them in Cuba, rather than bringing unexposed film back to the States. So when we finished with delivering the photographs and looked up to see sunny skies, we called her immediately and made our way to the Pan American Stadium for our final session. She was incredible, moving from one location to another, allowing me to photograph her hair in its natural state.

Working with this young spirit is incredibly uplifting, she is consistently happy and immensely creative. While some models have a hard time coming up with ideas, this young pre-teenager's concepts are only as limited as my ability to document them. She allows the hair to cover her face, to blow with the wind without submitting to the reflex of fixing it.

In one instance I was changing rolls of film when I watched my camera/tripod tumble over and hit the concrete with a terrible sound. The lens struck the surface straight on, denting the filter. Any other time I would have lost my mind, since only two lenses are with me during my trips. This afternoon it only affected me for a second, the filter was changed and we continued with the photography. The camera body had a vibration while transporting the film to its next frame, but my only thought was with the images yet to be made.

Nothing else mattered except this young girl in front of me, performing like no other for the sake of our collaboration. We worked until the sun set, and managed to finish the last roll of film. It would be impossible to describe a more perfect ending to this past summer in Cuba. 

For more images, and history behind them, please visit my website:

Halim Ina Photography

Leandro, El Estadio Panamericano, La Habana, Cuba, July 26, 2012

After several months out of the darkroom, the past few days have reignited my desire to print the images. Since the Cuban negatives happened to be sitting in order on my table, it made all the sense in the world to start with them. This and the fact that I'm unable to wait much longer!

Before printing I made one promise to myself, print everyone's negatives first before going back to print multiple negatives of the same person, unless two negatives of the same person happened to look great from the same roll, for ease of printing of course.

The above image is of Leandro, and was made in front of the stadium built for the Pan American Games held on 1991 in Cuba, just outside of La Habana. On my way to Alamar to photograph a couple of dancers a few years ago, the white walls of this magnificent structure caught my eyes. Since that time many of our people have followed us here happily, since it allows them to have their portraits made without the entire neighborhood watching.

On this beautiful morning, Leandro and Camila performed a special piece for us, something that they had been working on just recently and had yet to show in public. I felt honored then and even more so now to have been the recipient of their hard work, their most expressive movements.

Asked to wear darker clothing, neither one disappointed me. This they shared happened to be their preference as well. My dear friend Alejandro picked me up before six in the morning, and we headed to  Leandro's place where they were both waiting for us, on time and ready to perform. This beautiful man was humble, sensitive to our needs, courteous and most of all professional. He had only known us for twenty or so minutes and yet was able to share with us his most intimate visions.

I look forward to handing the prints to him and Camila next summer, and to doing this all over again.

Halim Ina Photography

Eleanor, The Film Images, Downtown Los Angeles, California, September 16, 2012

Many will begin their viewing of these images with an opinion, few will be as open as Eleanor. Documenting this young spirit was effortless, since she brought her stories to the collaboration. Even before we met on this beautiful morning she presented her ideas to me. When one idea was complicated by a third party, she moved onto a second just as important vision.

When my schedule needed to change at the last minute, she changed her schedule around and made this collaboration possible. I am fortunate enough to have met many significant people in my life, and Eleanor is one such person. My years as a photographer will hopefully include Eleanor once again, and a chance once again to document her stories.

For more information regarding Eleanor and her various projects, please follow the link below.

Rooftop Revolutionaries

Halim Ina Photography

Kylee, The Film Images, El Mirage Lake, Los Angeles, California, September 14, 2012

Scanned just yesterday from the film are images from my collaboration with this most wonderful woman. While the location is certainly essential for these images, it is her insistence that my photographic desires be attended to that makes these images so timeless.

She listened to my wardrobe wishes, and of course provided her input. Instead of just looking through her existing pieces, which of course would have been more than acceptable, she went out of her way to research new wardrobe, and make a purchase or two specifically for our session.

Instead of stopping halfway along our path around the dry lake bed, she allowed me to drive all the way around for the perfect spot. She changed between pieces, stood for hours in the hot sun in the desert, and allowed her hair to be wet and her skin to be covered with mud.

I admire this young spirit, and look forward to further collaborations.

For more of her work, the following link is provided:

KyleeBelle

Halim Ina Photography

La Cantante, La Habana, Cuba, Summer, 2008

Here she stands one block away from her home, against a white wall and facing a wall drenched with sunlight. When we arrive a white truck is blocking the beautiful sunlight and a young man willingly moves the truck for us. She is dressed in her ballet outfit and has allowed her hair to fall naturally, rather than in the formal manner.

I photographed her two years or so ago on the famous walkway lining the Cuban capital as she walked with her family. She was willing then and is more than willing now. People stand to her left watching us work, but to her they are invisible. She looks straight into the lens and presents herself without limitations. When asked she raises her head, and shows me the meaning of love. In one portrait I might explain to those asking me: why do you continue to visit the island?

Then in a five minute clip as in the previous post, such questions would be laid to rest.

This young girl always puts her best foot forward, never accepts anything but her best effort. Just when I think she has sung her best version, she asks me to record yet another... and I do so beyond willingly. In temperatures that almost melt my camera along with humidity that forces me to wipe my forehead a few times during each performance, she sings effortlessly.

While people walk by on the street looking at us, she does the same. She never settles for anything but a most genuine expression, for this is her. Her mother is an incredible force, very much like the daughter. She tirelessly promotes her daughter and always provides pointers during our recordings, actually singing her pointers rather than just telling her daughter to do this and to do that. She leads by example.

In the background, and anything but the background, is her father. There are very few on the island with such character, with such humility. His words almost always bring tears to my eyes, because he always puts others before himself. His talents are clearly present, yet he plays almost inaudibly while his daughter performs, accompanying rather than leading. This man I admire very much, he is everything to his daughter and she is his purpose.

Halim Ina Photography

Young Woman, Courtyard of Home, Outskirts of Dakar, Senegal, February, 2006

While having been to Africa before, this can be described as my first photographic experience on the continent. My trip to Senegal and Gambia began as a visit to my family, and ended up launching my work on the continent.

On the day we met this young woman, we decided to explore another neighborhood of the capital. Two young men accompanied me during my days, both of whom ran small businesses near my cousin's home. One young man ran a small fruit stand and the other owned a small corner store. They knew my cousin and took it upon themselves to help me with my work.

Most of the time we would walk up and down streets, looking for a moment and a face. Whenever we set up the camera, children would come running from everywhere to have their pictures made. At first it  would seem like four, then that number would multiply by six to become well over a dozen. My friends would always joke with me that we needed to set up a video camera just to record from which houses the people came.

On this day however we were coming back from a day of photography when I glanced to my left and saw this young woman's face. She and her family were standing at their doorway, and my friends were walking in front of me looking forward to going home. She however caught my attention and rather than asking my friends to inquire for me I raised my hand and made the motion of clicking the shutter of a camera. She smiled approvingly and made me want to walk across the street.

I asked my two companions for permission and they gave it. We walked across a dirt street filled with tire tracks and potholes to meet her and her family. They quickly invited us inside without hesitation. We walked past a doorway and into a courtyard. We sat down for a little bit and then asked to make her portrait. They again allowed us without hesitation and the camera was set up for such.

One year before I learned the technique of making portraits without a hint of a background while working in Cuba. In this instance, the courtyard not only had a white wall but also an open sky and access to the setting sun. She was asked to stand with her back to the white wall and her face to the sun. She did so and allowed me a few exposures before the sun began to set behind the building.

To this day my mind has a difficult time grasping the idea of being allowed into the lives of others with such ease. The number of people met, the tens of thousands of negatives exposed and the hundreds of hours spent have yet to provide me with an explanation. I can only be thankful for the trust shown to me and the kindness attached to that trust.

I know that I will never see this young woman again, unlike the others in my portfolio. I do however appreciate the image above and what it represents for me, a single moment in an afternoon of my life when the face of kindness presented itself to me.

Halim Ina Photography

Markeya, East Coast Meets West Coast, Model, El Mirage Lake, Los Angeles, California, September 16, 2012

From her first message to the texts on the day of the session, Markeya shows nothing but respect. Point after point is presented to her and is agreed upon without resistance. Whether it is her wardrobe or the location, my suggestions are accepted with an open mind.

On the day of our session she suggests to us that her friend can bring her to the location, saving us the distance and expense of going her way. She agrees to head out a bit early and we meet on the other end of the lake, at the suggestion of the park ranger. The dry lake bed happens to be closed due to some recent storms.

On the other side of the lake bed access is possible with a public road. We drive up to a home at the perfect spot and meet a man named George. In our approach to his home there are multiple, disheartening signs regarding access, permission and so forth. Rather than turning around we continue forward and meet George. Before my door is opened he waves his finger in a negative direction and shrugs his shoulders. I almost turn around but then get out of the car to ask his permission to approach the lake bed from his territory.

His first words are actually in the form of a joke, and this makes me feel more comfortable. It seems that he is quite the jokester and is more than kind, allowing us to park in front of his home and to access the lake from his land. He tells us a bit about himself, and about other photographers that come to his place. Pieces of cars, planes, boats and so forth sit on his land, making it quite the location.

With his permission we pull up and discuss our plan for the day. We begin with the distant images, and plan on working closer as the sun begins to set. Markeya pulls out a most impressive suitcase filled with clothing, accessories and so forth, all organized in different compartments. As with our email exchanges, she listens to my suggestions and we agree upon a sequence regarding her wardrobe.

The cars are parked perhaps fifty meters from the location, and I head out to set up the equipment in advance of her appearance on the lake bed. The skies are beautifully clear and the silence is intoxicating. We work for the next two hours, and she shows me an exquisite range of movements, never once complaining about the sun or the heat.

We end the session with success and head out for a small meal. On our way to the restaurant Markeya immediately puts together a collage and posts it to her circle of friends. Her excitement is palpable, and contagious. We exchange information, she receives her images on a disc and we go our separate ways.

I look forward to the film images and to a long-term, creative relationship with this incredible woman.

Halim Ina Photography

Eleanor, Musician, Engineer, Activist, Model, Los Angeles, California, September 16, 2012

On this beautiful morning in Los Angeles we arrive an hour before our session to look for a white wall near Eleanor's home. Bailey and I arrive before the sun has even appeared, and approximate the direction of the rising sun. We drive away from the center of the city and look for open spaces. We find three or four and make notes of their locations.

Then we send a text to Eleanor and advise her that we are ready for her. She meets us downstairs across from her building, in front of a coffee shop. We then drive to our locations and then decide on one that is both less busy and more open. Eleanor is immediately ready, and prepared herself as desired by me. Her hair has a most delicate quality to it, and flows beautifully in the wind.

We begin with close images to record her features with the rising sun. She moves from one expression to another with ease, and seems to follow my direction without ever hearing them, since they are never spoken by me. We are on the same page, she smiles then plays with the lens with sincere respect. She understand my work and has a deep respect for the people within it.

We then move onto making images with movement, and from a distance. She stands on the sidewalk and I walk into the street. Cars pass by and go around the camera without interrupting our work. People also walk by and show only respect to us.

Eleanor tells us the story behind this flag, and surprises us with the details behind her acquisition of it. It fills me with pleasure to represent her and her thoughts, and hope that people will approach these images with open minds. Rather than write for Eleanor and paraphrase her views, I will present her images and let them speak for themselves.

The images above are the work of my dear friend, Bailey, and were made at the same time as my work with the film camera.

After our session we drive back to her apartment and she treats us with her generosity. Here is a young woman being asked to spend her Sunday morning with us working for two hours and here is a young woman that gives us even more rather than expecting anything in return.

Her voice will speak for her and can be found below.

Rooftop Revolutionaries

Halim Ina Photography