Behind the Lens: Our man in Havana

It was early morning, and I had just awoken from a restless sleep. 

I was excited but also slightly panicked. What is this place I have landed myself in and will I make it through the next two weeks unscathed? I opened the blinds to look out onto a new day and there it was, one of the best street scenes I could hope for. 

I was in Havana, Cuba, and believe it or not, this image was a safe shot from the comfort of my palatial hotel room. A cheap shot some might say, or a lazy shot others might, but I pushed the button and started to think about breakfast. Photography can be hard work, but one must feast before venturing out into the wilds!

Like many people visiting Cuba, you ask the question, “is it safe?”. I was about to find out, and if I was to die then my last meal would have to be a good one. Unfortunately anyone who’s been to Cuba will know the food is probably the most dangerous thing in the country.

So, after stuffing myself, it was time to face the day.  The rest of the story isn’t relevant to this photograph so let’s step back and focus on some of the finer details. Why is this image so compelling? For me, it comes down to a few things, but really it’s all about the lone figure walking in the street.

The rest of the city seemed empty, as if a zombie apocalypse had taken control and only the brave would venture out. There’s a sadness to his pose, a sense of despair even, a forlorn figure on his way to work he hates but has no choice to go.

There is probably a bit of reality in this too. Cuba has many problems, none of which the people have much say in. You toe the line and keep your head down, just like this guy. 

In this shot, it was the strong lighting that first took my eye. We tend to look in the direction of the strongest light source and I knew that in Black and White this image would be stunning. I waited for just the right moment to push the button, a moment without cars and other people where the magic of the scene could be captured in an instant. 

But this is only half the story. Post production was to play a big role in fine tuning this into, dare I say, a work of art! During art classes my teacher would talk about increasing contrast in oil painting. He would say, lighter lights and darker darks. I used this mantra to do just that. I wanted the light streaming between the buildings to be the hero and everything else to be a supporting role. At the same time, I wanted to maintain some detail in the buildings as the architecture also played an important role in the feeling and mood.

Lastly, I love showing how big or small something is. By having some reference, in this case our sad little man, you understand what you’re looking at. It becomes epic and powerful. Is this image one of the finer moments in my career? I really think it is.