Mursi Woman + Paint, Mago National Park, Lower Omo Valley, Ethiopia, 2010

After a year in the darkroom it’s time to get the prints out. We’ll see how the #etsy crowd takes this work in, and sees the royalty that she truly is.

This young Mursi woman lives in a most difficult environment, and holds true to her traditional culture. Even though you'll see very few other Ethiopians in her area, vans of tourists stop now and then. Each time a group of tourists step out and walk into the village. Once they do the community walks over to them in order to try and earn a living with their goods, mainly the lip and ear plates as well as woven baskets. They also earn a living by being photographed, as each tourist pays a certain amount for a photograph.

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Massai + Sky, Kisumu, Kenya, 2007

Last month was spent scanning all of the color film from the past 20 years. For some reason, I scanned the monochrome only, and neglected the color film all these years. This young man belongs to the Masai Community and was photographed during my time in Eastern Kenya. Thanks to my brother Nga Nga this work was possible, and I will forever be in debt to this great man.

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Mursi Man + Sky, Lower Omo Valley, Ethiopia, 2010

Before heading to Ethiopia seven years ago, my first inclination was to research the communities in the southern portion of the country. They were of course famous from the images through such publications as National Geographic, but this would be my first time in their midst. There were many which caught my eye, but there was one which struck me immediately.

This man belongs to that tribe, the Mursi of the Lower Omo Valley of Ethiopia. They are closely related to another community, the Suri. Between these two tribes exist the most incredible body art and adornments. Ranging from both painting to scarification, and including ear and lip plates, they are unlike any photographed by me over the past 20 years.

Estimates put their population at nearly 10,000, a remarkable number in relation to other communities from around the world. Their way of life is endangered as well, due to the dam being constructed by the Ethiopian government. They straddle the line of being admired by outsiders, and thought of as backward by their neighbors.

Many within Ethiopia resent the fact that many come to their nation to photograph the Mursi, and others like them in the Lower Omo Valley. Yet they know that without such tourism their lives would also be affected.

I admire this community very much and, regardless of warnings by others that this was an aggressive community, found the community to be kind and generous with their time. We stayed in a small town an hour or so away for the first two nights, then camped near their tiny village in the national park for our last night.

My stay in Ethiopia was short, less than three weeks. However I do hope that in the future my return will feature these two tribes, the Mursi and the Suri, and truly do honor to their beauty and strength.

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Note: This image was made with a Hasselblad 555 ELD/180 mm combination onto Fuji Neopan Across 100 film.

Man + Necklace, Mursi Community, Lower Omo Valley, Ethiopia, 2010

The Mursi Community of the Lower Omo Valley of Ethiopia is a formidable, photographic subject. While the number of tourists visiting their extremely remote villages is surprisingly high, they continue to live like they have for generations.

Of course they have adapted, and present themselves to the cameras quite well. What used to be reserved for customs and festivals is now put on display in exchange for payment. They live however without tap water, electricity, government schools nor hospitals. The men are supremely beautiful, and seem to have been carved from the earth around them.

I remember having photographed the women earlier in the day, and asking to photograph the men later. Suddenly the men decided to renegotiate the financial agreement, wanting more than the women to be photographed. For me it was the principle of it, and the translator went back and forth with the men trying to come up with a solution.

Then I asked the translator to speak for me directly, and he went on to do so, explaining that what mattered to me was that everyone be reimbursed the same for a photograph. Whether they were children, male or female, this was the most important aspect of our negotiation for me. They paused for a minute and then agreed to be photographed for the same fee as the women.

I was deeply honored by their decision to allow such to happen, and impressed with their calm demeanor throughout. So far they fascinate me more than any other tribe in Africa, and will be photographed by me for decades to come should those decades be given to me on this globe.

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Note: This image was made with a Hasselblad 555 ELD/180 mm combination onto Fuji Neopan Acros 100 ISO film.

Mursi Man + Ornaments, Mago National Park, Lower Omo Valley, March of 2010

His portrait was made early one morning in Mago National Park, almost four years ago in the Lower Omo Valley of Ethiopia.

The night before we slept near a stream and under a large tree. For our dinner, we had corn from the previous day and some canned tuna. While we slept, a guard from the park services department watched out for us along with some men from his tribe, the very tribe we intended to photograph the next morning.

The reason for the decision to camp was based on the amount of gas remaining for the trip. Sleeping near the tribe allowed us to eliminate the arduous trek over the mountain range and also lessened the wear and tear on the truck, as well as the driver.

Clouds, for some reason in the land of sunshine, decided to appear on the horizon just as the sun was shining most beautifully this entire week. Sleep was hard to find all night because of this. Every once in a while, I unzipped the small tent and looked up at the skies only to see stars. Then I went back to sleep only to repeat this a few times during the night.

In the morning, before the sun came up, I checked on the sky one more time, saw only stars. Excitement built and we decided to move quickly. We packed all of our gear, placed it on top of the truck and headed to the village only a minute or so away.

Opposite to what most people told us, a tribe that was supposed to be most difficult was in actuality more than gentle. We began with the girls, then the women and then the older men. During this morning's session, a large cloud appeared out of nowhere unexpectedly and seemed to be moving in the same direction and with the same speed as the sun.

With the previous five days in mind, I almost decided to put everything away and give up. The translator told me to be patient, told me that the sun will reappear in less than one hour. In the end, he was right. The sun did reappear and even though it was higher and stronger than before, the people were able to stand up and collaborate beautifully.

We finished on a high note and moved on to the next tribe, until our return next year hopefully.

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Note: This portrait was exposed onto Fuji Neopan Acros 100 ISO film with a Hasselblad 555 ELD/180 mm combination.

Young Boy, Paint, Mursi Community, Mago National Park, Lower Omo Valley, Ethiopia, March, 2010

While most of the portraits are in black/white, a sizable minority of images from my trip to Ethiopia have color parallels. It seemed both natural and important for me to do so, since the color spectrum was already almost duotone in presentation.

When the time came to do so, the film backs of the camera were exchanged and color images made. It was pretty simple actually, and the people cooperated fully for the most part. We stayed in a small town just outside of the park system, since staying within was forbidden. Every time we entered the park system we would need to take with us an armed park ranger, usually a member of the very tribe we wished to visit.

Before visiting this community I was told about the difficulties some have faced, the aggressive nature of the park's inhabitants. Stories of trucks being approached by large groups of people, products being thrown upon the tourists for purchase without choice. The reality was much different, and the communities accepted us with kindness. While they did approach me with lip discs and baskets for sale, they did so with respect and humor. They allowed us to set up the equipment without hassle and with the simplest of negotiations.

There were times when we would ask of them something different, for example to have their children stand on the bumper of the truck. They never disagreed with us and made it a most amicable environment. The older men helped us with the children, and the women stood at a distance watching all of this unfold in front of them.

The young boy above was photographed in both color and black/white. Most of the boys wore necklaces with white and black beads. Their faces were painted in various patterns of white, and sometimes this extended to their torsos. The white of their eyes was rarely white, the environment having much to do with this. They live a most difficult life, with scars on their skin as evidence.

What struck me about the color images was the sky. While I wanted so much for it to be clear, the various cloud formations proved to be quite beautiful. This, coupled with the importance the sky plays in the religious beliefs of this community, has made these images supremely important to me.

According to Wikipedia:

Like many agro-pastoralists in East Africa, the Mursi experience a force greater than themselves, which they call Tumwi.This is usually located in the Sky, although sometimes Tumwi manifests itself as a thing of the sky (ahi a tumwin), such as a rainbow or a bird. The principal religious and ritual office in the society is that of Kômoru, or Priest. This is an inherited office, unlike the more informal political role of the Jalaba. The Priest embodies in his person the well-being of the group as a whole and acts as a means of communication between the community and God (Tumwi), especially when it is threatened by such events as drought, crop pests and disease. His role is characterized by the performance of public rituals to bring rain, to protect men, cattle and crops from disease, to ward off threatened attacks from other tribes, to safeguard the fertility of the soil, of men and of the cattle. Ideally, in order to preserve this link between the people and God, the Priest should not leave Mursiland or even his local group (bhuran). One clan in particular, Komortê, is considered to be, par excellence, the priestly clan, but there are priestly families in two other clans, namely Garikuli and Bumai.

I plan to return to this land in the near future, but need to attend to another part of Africa until then. However when I do return the work will hopefully manifest itself differently, with more sensitivity for the daily routines of the communities being photographed. A fuller picture of these incredible people is the desire.

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Note: This image was made with a Hasselblad analog system.

Monica, Daughter + Mother, Pan American Stadium, La Habana, Cuba, July 24, 2012

My friend told me about a young woman interested in being photographed and we decided to visit her at an event. She happened to be showing her modified car at a show in a suburb of the city, and we arrived in our own classic, although nobody gave us a second look. I remember feeling a bit funny when Alejandro parked his 1957 Chevy next to the pristine vehicles in the parking lot. While their cars were for show, Alejandro actually used his car as a taxi and a daily driver.

We walked up to her and introduced ourselves. She was very pleasant and introduced us to her husband as well, the owner of a well-to-do restaurant in the center of the city. It was at this time that the young woman above came over to greet us. She was a friend as well, and worked with the couple to whom we were just introduced. Her English was as perfect as her Spanish, and she was kind enough to use both to help me understand more so.

When she saw my work in the book, she was deeply touched... more so than most in my experience. She looked at each portrait with intent, continuously telling the others to see for themselves. She was impressed with the portfolio... but I was impressed with her reaction even more so. We offered to include her in our work and she jumped at the chance. We decided to meet the next day, pick them up at their respective homes, and head over to our favorite spot, the Pan American Stadium just outside of the city.

We arrived the next day near her home and waited for her on a corner. I stepped outside of the car to wait, and get an idea of her situation. She came walking down the street with a bagful of clothes. She was more than prepared, and all of her clothing was as requested by us, dark and timeless.

Our session was in the afternoon, and the sun appeared brightly for us. It was still early so we waited a little bit under the shade of a tree. The young women changed into their first pieces, and we began on the steps of the stadium. To say that Monica was a natural would be an understatement. She was a stranger the day before and now was giving of herself like a person intimately familiar with my work. She moved from one expression to another, but also paused just enough to allow me time to photograph.

She never complained about the sun, the temperature or the time needed. I worked with film and with the digital camera as well in order to give them a book of photographs later in the week. Monica would change to two more outfits by the end of our session, and allow me to make close portraits of her as well at another location perhaps 100 meters away. We worked for two hours and then headed back home, dropping Monica off at the same corner from which we found her.

Many adjectives come to mind when thinking of Monica, but the two most dominant are gentle and loving. She was drawn to the people in my portfolio and now has become one with them. I look forward to seeing her this July, and hope to further our collaboration.

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Halim Ina Photography

Mursi Man & Cane, Lower Omo Valley, Ethiopia, March, 2012

During my time in Ethiopia, I visited a dozen communities. Each experience had its own feeling, its individual flavor. We only had three weeks to accomplish these visits and so set a limit as to time spent with each, at least until I met the Mursi Community of the Lower Omo Valley.

After one session I knew we would stay put for the next five or so days. In order to photograph them we needed to stay in a nearby town, about one and a half hours away through rough, mountainous terrain. Because we needed to photograph as the light appeared and disappeared, this made it most difficult for our driver. The road up and down the mountain was barely a road, just a path actually. On either side of the mountain were dangerous slopes, easily engaged in pure darkness.

The Mursi live in a national park, and thus are quite remote from any possible accommodations. We arrived one day early because we were seeking a local hospital to take care of my health. Seven days prior to our arrival I had been unable to eat anything substantial, and anything that did go down came back up quickly. I lost perhaps a dozen pounds in less than six days, but continued to work because the energy of the place was irresistible. 

When we arrived to the small town, we visited the local hospital. There were many people already gathered for the attention of one physician, people with issues ranging from broken limbs to pregnancies to infections. I felt quite awkward being there for something so superficial, but knew that I needed this man's help. For the past few days tremors crept in whenever I moved a muscle, and this scared me very much. Every time I would try to stretch out in the truck my muscles would seize, every time I would move in bed while sleeping cramps would set in.

When my time came the doctor and his team saw me without prejudice. In perfect English he went on to explain how he was going to diagnose my ailment. He asked question after question, alleviated my concerns and then made a diagnosis based on his interview. He provided me with two prescriptions to be filled in the pharmacy next door. When we attempted to pay for his services, the doctor refused payment in the kindest of ways and included me in the social contract of the region. My visit alone with this gentle man gave me a sense of peace, and the medicine (for the price of one cup of tea) cured me in one evening. The very next day I was able to eat, and do all else associated with normal bodily functions. Sleep was finally available to me.

So we arrived to this community reinvigorated, and worked from sunrise to sunset. In between we would drive to a secluded spot and have our meals, and chat amongst ourselves. One night we were allowed to sleep near their homes, and thus were given rest between driving back and forth. During this night we set up our tents, and made a dish that included spaghetti and corn. We thought we were alone, but then found ourselves in the company of these good people as they arrived to our campsite with their machine guns in hand. Rather than being alarmed we felt safe, and slept through the night looking forward to the next day. 

While my time in Ethiopia was overall the most difficult photographic experience of my life, it was also amongst the most fulfilling in light of the images made. I do look forward to one day revisiting these communities and being more familiar with their customs, lending a more authentic feeling to our communications. 

halim.ina@gmail.com
Halim Ina Photography

Older Woman, Dancing, Humana People to People India, Rajasthan, India, November 18, 2009

As she sat for her portrait she danced, moving her  hands about and giggling like a little girl. While she lives in one of the traditional villages documented by me over the years, her jewelry resembles that of the Banjara Community. She however dresses like the other villagers, and sat with us as we photographed the girls from the local school sponsored by Humana People to People India.

We arrived at this village in the middle of the day and took advantage of the shade. A couple of young men took turns holding the reflector, and we arranged a small stool for the girls to sit upon for their session. The cookware next to her was already there, and for the sake of variety we moved them a little bit in between sitters.

I enjoy it when an adult, like in the previous post, injects a bit of humor into the scene. This allows the students to be freer with their expressions and makes for a more interesting session. This is exactly what she did, moved her hands through the air and allowed me to photograph her all the while. Behind me and to the left sat a group of men watching, which made her actions that much more remarkable.

Contrary to my experiences in the past, the men also enjoyed the humor and supported all of our work. Their presence served to give our work more plausibility, and we did our best to present all of them with photographs a day or so later.

In the beginning of my photography, years ago, I would return to the villages the following year and hand the pictures out to the people. While they very much appreciated it, the number of photographs was limited to the amount my luggage would allow, plus the protective sleeves. Taking a digital camera along allowed me to make images and print them immediately afterwards at the local photographic lab. In this way the local economy benefited from my humble offerings and the people received their pictures much sooner, and more of them.

This engendered a warmer response, and allowed further sessions to have a flow unattainable before.

I look forward to visiting this village once again, perhaps next year. My hope is that the girls of this village are attending government schools, and that they will allow me the privilege to photograph them once again.

halim.ina@gmail.com

Halim Ina Photography

Joylyn, Model, Photographer, Friend, Near Los Angeles, California, October, 2010

She introduces herself to me through Model Mayhem and we arrange a session. During my time in Los Angeles, the climate is a bit out of character with clouds and rain in the forecast. It becomes apparent to me that my photography will take place over the mountain range, and away from the city.

We plan on meeting at Vasquez Rocks Park, a location suggested to me by another wonderful model named Vamptress. As has been the week previous, clouds are in order for the day in and around Los Angeles. I arrive at the park and cannot see the rocks, or much of the landscape around me.

We speak on the phone and decide to drive out to Palmdale where information tells me that the sky is clear. We meet on the side of the road and she follows me to a small water tower near Lake Palmdale, a location spotted by me a few days earlier. It is both secluded and higher than the surrounding landscape. On our way the clouds disappear and the sky becomes much clearer. The sun is shining on the water tower and this can be seen all the way from the highway as we descend down from the mountain.

The feeling is indescribable.

We park our cars and meet formally. Her personality is quite charming and she helps me feel comfortable straight away. She is dressed the part, and we make portraits immediately. She is a professional and brings with her the wardrobe discussed previously, dark and simple. She stands on a small hill and I position myself below her, allowing the sky to take its place behind her.

The winds are mighty and we make the best of it, allowing her hair to play around. Rather than distressing about the situation, Joylyn enjoys the circumstances. She changes between pieces of clothing easily and without stress. We work for perhaps two hours and then decide to head back to Los Angeles. Instead of separating and going her way however, she allows me to join her for a meal in a local restaurant.

We sit down and break bread over meaningful conversation. She tells me about her life, about her family and about her modeling. She is real, and genuine. My time with Joylyn teaches me that everyone has a story, that models are more than faces and that understanding can be found in a stranger. Joylyn is anything but a stranger to me on this day. She sends messages to me now and then, always asking about me.

I admire and respect this woman, and will continue to be her friend. She is a 'Rock Star' indeed.

halim.ina@gmail.com
Halim Ina Photography

Kittie, Photographer, Model, Cuyahoga Falls, Ohio, October 8, 2011

We meet on Model Mayhem, she responds to my proposal as follows:

'We can talk and I may very well accept.'

In the weeks prior to our photographic collaboration, we exchange a number of messages detailing our thoughts. From wardrobe to location, she offers creative solutions when others simply freeze. She understands my work beautifully and wants to be a part of the family.

Instead of wanting this for herself, she offers to collaborate for the sake of the project. She goes out of her way to gather the clothes necessary, adhering to my request for simple and timeless pieces. She adores vintage clothing and has a closet filled with remarkable examples.

She invites me to her neighborhood for the session, and into her home as well. Her family is present along with her wonderful boyfriend. Before we walk in to review her selection of clothing, I talk to her father and boyfriend, sharing with them the reason for my interest in her. They wonder about my work, and have seen a bit of it through the internet. During our talk I show my portfolio to them, and tell stories regarding my work.

Quite naturally they are also curious about my interest on this day. They see faces in my portfolio from Ethiopia and Cuba and India, then look at the young girl across the table from them. To me she is priceless and this much is communicated to them. She is just as beautiful and kind as the people in my book. She trusts me in the same manner, and shows a respect that many others fail to share. 

She gives me the benefit of the doubt without having ever met me prior to this day.

We then walk into her home and up to her room, without hesitation and with the parents' permission of course. On our way through the house, her younger brother is present and is as confident as any young man from my experience. He greets me with a cool demeanor, and seems to be quite the presence in the kitchen. We spend some time looking at her photography, and then at some of her artwork. She is a creative spirit and this makes me very happy.

She is proud of her artistic expressions, and shares her work with kindness and humility. We then look through her selection of clothing and all of it according to my specifications. In addition to the simple black pieces, she shows me a piece from the Victorian Age as well as a few Mid-Century pieces. We are both very excited at the prospect of this collaboration and go back downstairs with our treasure.

The drive to find a wall is next, and we pile into her car for the search. It takes us less than ten minutes and, with the help of her boyfriend, we locate a wall of a warehouse next to a local hotel. The lot is spacious and empty, just perfect actually. The sun is still pretty high and we talk a bit before the photography begins. 

The portrait above is made with the first dress worn, and the afternoon flows as beautifully as any session in my experience. We communicate effortlessly and expose a dozen or so rolls before the sun goes down. I am beyond excited at the results and this past weekend have printed four negatives from the session. In my opinion I have found a young woman with whom to collaborate locally for a lifetime. She is once again priceless and promises to continue helping me make images as the one included above.

What else can one ask for? 

I can think of nothing else, and go to sleep tonight thinking of our next time together. 

halim.ina@gmail.com
Halim Ina Photography

Banjara Woman, Rajasthan, India, October, 2009

The image above is a still from moving footage. While we are on this day unable to make still images of this group, they allow us to film them during their tasks. The rest are standing to my left and she watches them as they watch her, all the time making three pieces of bread at the same time.

My friend tells me that she is able to place one on top of the fire, one inside the fire and one in her hand in preparation for the fire. Watching her as the camera records her movements proves this to be true.
From this home we move on to photograph a few children nearby, some of whom follow us from this home. It seems that they too want their portraits made but, without the men from their homes, are unable to do so.

Earlier in their history, the Banjara Community were known as the salt traders, moving this and other commodities from one part of India to another, going as far as China and Europe, even to the United States. Many consider them the ancestors of the Roma Community throughout Europe and of nomadic groups around the world.

The literal meaning of their name is: 'One who moves or wanders in the jungle.'
Soon, perhaps in the next two years, they will be a focus of my documentation more so.

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Pretty Poison, Model, Friend, Summer, 2010, Northeast Ohio, States

On that same cold summer afternoon, Cassandra is there.

This is Scarlett's friend, the person who has set up this photographic session. She is kind enough to share her time with me and allow Scarlett to be photographed. When we meet in that parking lot, it is the parking lot of her friend's business.

We start by meeting each other at her home, a home reflecting her personality in every single way. She shows me kindness and courtesy. She and Scarlett bring an energy to the session that is refreshing, especially on this cold afternoon.

We begin our photography perhaps a few blocks from her home by searching for an appropriate wall. We are all included in this search and drive around looking for that wall. We find it and expose a few rolls at this spot, a small business as well.

We then move on to the spot that she had told me about a few weeks ago, even including images of the space for me to see. This is how organized and caring she is, how much she respects the collaboration.

As with Scarlett, she also awaits her portraits without worry or concern. She never sends me an inquiry but rather waits patiently knowing that much is on my photographic plate at this time. Just yesterday the portraits were sent to her, perhaps four months after our session. She sends me a note of gratitude immediately, perhaps within thirty minutes.

She also wishes me a very happy New Year. What a gem, what a gentle soul she is.

On my way back home after our photography, a friend calls me and tells me of a wedding reception on the West Side, a coincidence actually since the video camera is with me as well. The gathering is quite casual and a band is present. We set up the equipment and make a recording of the event for the groom, a friend as well.

Such is this afternoon and evening, just perfect in every way.

Her Model Mayhem page can be reached by clicking below.

 

Pretty Poison

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Scarlett Von Sinn, Model, Friend, Northeast Ohio, Summer Day, 2010

On a cold afternoon we make this image. The wind is blowing quite cool and the sun is perhaps one hour from disappearing. Three of us are working, two models and one photographer. While her portrait is being made, her friend waits in the car and warms up for her portrait.

The session occurs in the parking lot of a friend's business. We set up and use the white wall of the building as our background since our own is blowing in the wind. A spontaneous message a few days prior has made this day possible, in addition to the clarification that traveling to her area has been my intention all along. Her humility and courtesy had given her the impression that they would need to travel to my area and such was most difficult for her and her friend.

Many rolls are exposed, from different distances. In the end however, making her portrait from a closer distance allows me to document her ability to present the most subtle changes of expression. From one negative to another she displays this uncanny talent, so much so that my instinct is to load another roll of film and continue until the sun sets.

During the entire session, she is kind and courteous and without hesitation. Whatever is asked of her, whether to turn her head or to perhaps to look a certain direction, she does so in the most gentle of ways. She honors the people in my portfolio with every gesture, by wanting to be included in my portfolio rather than asking for something in return.

It has taken me almost four months to process her images and she has yet to express concern.

The camera rarely leaves my home in the States, for various reasons. Working with Sarah has given me more reason to do so in the future.

One may see her portfolio through the link below.

Scarlett Von Sinn

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Mursi Man, Earrings, Lower Omo Valley, Ethiopia, March, 2010

He walks over from under a tree for his portrait, along with the rest of the men. The sun is behind me to the left, we have two hours of light left before we need to start back on the road to the motel. The trouble with the truck forces us to leave the engine running, the noise becoming a part of the background by now.

One by one, the men take their turns. Some of them smile, some of them refrain from doing so. A few bring their rifles, a few others brandish their swords. They have seen me before in the form of other photographers and appear quite comfortable.

During my day with this Mursi Community, tourists come and go. They get out of their air-conditioned vehicles for the standard dozen or so photographs, haggling over the price a few portraits that in the end are less than the bottle of water in their other hand. The lack of courtesy shown surprises me very little for the most part, for these tourists barely look my way as well. They remind me of others from their Society that walk past me in the airports, in the streets, in the coffee shops; barely lifting their heads from the bright screens to notice my presence then either.

One man approaches me however. He is this group's tour guide. He has seen enough and walks away for a break from the excess. He notices me and starts a conversation. He is quite friendly, telling me about his work as a tour guide and the number of visits to Ethiopia before this present one.

He then asks me about my ethnicity, about my history. His face turns to curiosity when he learns of my Lebanese descent and time spent in Lebanon during the Civil War. He inquires as to the exact location of my family. When he learns the answer, he smiles slightly and tells me that he has been to that city.

Knowing his background as an Israeli, my guess is that his time in Lebanon was under the occupation of my country by his nation. He confirms this and tells me of his time in the armed forces during the Egyptian conflict as well. His face is transformed at this time, he tells me of one difference between the two conflicts: during the Egyptian affair, if a missile missed its target it might have struck the natural landscape behind that target... but during the invasion of Lebanon, if a missile missed its primary target it might have struck the urban landscape behind that target, quite possibly a civilian series of casualties.

At that moment, he says something completely unexpected, that he has never had respect for his government's decision to invade Lebanon and to engage forces within the population in such a manner. He extends his hand as a sign and we shake hands in the middle of a foreign nation. Here is a man that might have pointed a rifle at my family in Lebanon, telling me of his sorrow for the act, and then sharing his humanity with me years after the incident.

All the while the women from this village are walking around and trying to sell their crafts to the people under his guidance, pieces ranging from woven baskets to clay lip plates. We talk for a few minutes more until his tourists are finished with their snapshots. We bid each other farewell and he returns to a home on the other side of a border from my family.

It is on this day that the portrait above is made, hours after the conversation with the former Israeli soldier.

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Krys, Model, Storyteller, Vasquez Rocks, Los Angeles, California, October, 2010

Some respond once, few do more than this during my visit to California. Many talk regarding their humanity, few demonstrate it. Most make arrangements, few keep them.

Such is the case with the young woman above. One morning we set up to photograph, only to cancel at the last moment due to car trouble. The difference in her case is that she is awake early enough in the morning to give me a call. The difference is that she arranges another meeting and makes sure to show up, on her own and determined to collaborate.

She has a vision, she wants to express her experience through portraiture. She is humble enough to share time with someone else in front of the lens, another model already present, and she is focused enough to produce the portrait desired within twenty minutes. She is able to express her emotion on film and with four other people watching, in a public space.

Every single one of her portraits, the ones viewed on color positive film so far, are perfect.

After the session, she decides to climb a rocky formation and have her portrait made by Bailey from a distance. She sees this climb as yet another accomplishment and does so with the smile of a little girl. She is an inspiration to us all and we applaud her strength, both in her ability to tell her story through photography and to climb an incline many would decline.

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Magdalena, Woman, Daughter, Model, Friend, Los Angeles, California, October, 2010

The time in Los Angeles is filled with mixed emotions. On the one hand, this is the first time more than a weekend is spent in the States with photography. On the other hand, it is one week away from doing work overseas.

Will the models show up? Will they have the same enthusiasm as girls never exposed to a camera? Will they share a bond with the women in my portfolio?

These questions are answered one woman at a time, one session at a time. The portrait above is an example of an affirmative to all of the above.

Magdalena shows up every single time, working with me on three occasions. She does as is asked of her, she offers her ideas seamlessly and moves in a most free fashion. She climbs boulders with bare feet, changes into different outfits without hesitation, loves the color black and brings emotions my camera has yet to experience.

When we have time, we talk. She shares with me a little bit about her life, one detail at a time. She learns from me that these details will be shared with the girls in my portfolio. The girls in India, Lebanon, Ethiopia, Cuba and elsewhere will learn her story, will see her portrait.

One afternoon after driving back to her neighborhood, instead of thanking me and then departing, she takes time from her busy evening to have dinner with me at a local spot. Instead of joining her friends immediately, she takes the time to have a real conversation with me over a sandwich, a conversation formed out of mutual interest.

The women from photographic sessions in Los Angeles and San Francisco are wonderful examples of humanity; they give of their time and of their talent for the sake of girls on the other side of the world. While many models drop the lines of communication and fail to show up after being confirmed, many more do show up and place their stamp upon my work beautifully.

They are admired by me and respected by the spirits in my portfolio. They prove to me the worth of the past two weeks in California.

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Karo Man, Headrest, Paint, Feather, Lower Omo Valley, Ethiopia, March, 2010

On the eve of this image, we camp an hour away from this village. The hour can be attributed to the fact that a road is lacking. A rough path is what guides us to this man's home. He belongs to the Karo Community and lives on the east bank of the Omo River. With a population ranging between 1,000 to 1,500, the survive growing sorghum, beans and maize. They are well-known for beautifying themselves with chalk, charcoal and other materials.

The women in this community produce scars on their body in order to augment this beautification process while the men do the same thing but for a different reason, the killing of an enemy or a dangerous animal. The women also prepare their hair with a mixture of clay and organic material, giving it a most beautiful appearance.

This man carries a headrest, one that he uses when lying down so as to keep his head from touching the ground. This headrest also doubles as a small chair.

We arrive on this hot day after camping out nearby. After this morning, my friends decide that seven days without a meal for me is enough and decide to take me to a hospital four hours away. Before the drive however, we make magnificent portraits, both in color and in black and white. Due to a physical weakness this morning, the truck is parked right behind me, protecting me from the sun. A seat is also provided for me to sit upon, allowing me to manage the still and video cameras with ease and without exhaustion.

The portrait above is a still from the video camera.

We have a short discussion with the men and begin the photography after agreeing on a price for the portraits. In the Lower Omo Valley, negotiations are always necessary and a price is to be fixed prior to the photography. This community, like the rest, are used to tourists and requires an amount for each portrait, as well as an entrance fee for their village.

They are unsure of my work since it requires a dozen exposures for each person at times. We agree that a higher price is to be paid in exchange for the possibility that more is needed by me. We advise them that, for most, the payment will actually be higher. This is the balance that is struck.

We photograph the men first, followed by the elders and then the younger men. In this village, the children seem missing and we walk away without any younger portraits. We drive to the next location, four hours away and with the thought that a good doctor will be waiting on the other end of this drive to improve my condition for the remainder of my time in Ethiopia.

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Ebon, Daughter, Sister, Friend, Cleveland, Ohio, States, July, 2010

Ebon decides to come along with her sister for support, her sister being a model.

She ends up being photographed as well, as natural as the subjects from Asia and Africa.

In describing the people in my portfolio, a dear friend named Edith writes the following:

'A wonderful, exotic piece of wood, a hunk of wood from a tree that has not yet made my acquaintance, from a forest not yet discovered by man or woman, perhaps on a few colorful lizards, a slice of wood cut in an unusual way that exposes a grain pattern previously unseen except by a bolt of lightening that split it in that particular way back in 1837, a hunk of wood shaped around a burl produced by a temporary insect transplant...'

'Not just any piece of wonderful wood, you understand...'

Edith is describing someone else, yet her words come to mind in sharing my thoughts of Ebon.

It is my humble opinion that Edith would feel the same way.

By the way, Edith is a Certified Picture Framer and a link to her work is included here.

While of course my opinion is biased, her work nonetheless is exquisite.

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Panda, Friend, Model, Student, Cleveland, Ohio, States, July, 2010

Her name is Panda, or at least this is how we meet through ModelMayhem.

Our initial contact is a response to my casting call. She informs me that she will be out of town during that time and hopes my work will be extended to allow her a chance to be included.

The words that she uses are precise, direct and honest.

Panda writes: 'I love when people call me Sir, then change to Miss, then blush and stutter. I laugh a lot, but reassure them it's okay because they genuinely seem embarrassed.'

She reads the entire description and provides a response that is relevant to my work and brings a fresh approach as well. So many glance over the meaning of my photography while Panda takes the time to understand how she will bring something new to the work while maintaining a flow to it as well.

When asked about a similarity between her and the subjects in my portfolio, she writes:

'I think a similarity is obviously human. I find it funny how race is so emphasized, when in all reality we are one species, and race is a social construct. It's one genome. We've all seen our fair share, you can see it in the eyes and fine lines and markings.'

My work is clear to her even before meeting.

She arrives to the studio on time regardless of difficulty. We proceed to the rooftop and, in the span of a few minutes, she is ready to be photographed. We begin with close portraits and she moves from one pose to another, from one composition to another and from one expression to another effortlessly.

There is something about her; she moves with great delicacy and intent. She knows when it is time to show another face, another facet of her personality. Even though the sun is striking her with sufficient strength, she calmly gives me half an hour before we make portraits in another style.

The three images above are from this initial series.

Even before this session, Panda kindly accepts the thought of being photographed over a span of a few times. She feels that perhaps we can produce a more complete body of work given the benefit of a few sessions. Her patience with me and my work is extraordinary.

Last night she received the images from six weeks ago with grace, regardless of the time taken to produce the work. When asked to use her words for this entry, she responds with the same humility and grace.

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