The photograph that led to a physical assault was Rod Morris’s most impactful shot.
In 1993, a striking image captured by Rod Morris, depicting a bus driver in Luxor, Egypt, earned him a prestigious competition win. The accolades included a financial reward, a new camera, and a travel voucher valid for a round-the-world trip. Morris opted for Chile as his destination. The camera he received was a high-end model, which he promptly sold to a taxi driver in the early hours of the morning, as he personally favored the use of more compact 35mm cameras.
After spending three months exploring Chile, Morris embarked on a train journey that ascended to the elevated Bolivian Altiplano plateau. The altitude adjustment brought on a severe headache, which was eventually soothed by a traditional coca tea. At the time, he held an open-ended assignment with the Financial Times, tasked with documenting financial districts in various South American cities. While his primary objective was to freely wander and photograph compelling scenes, he also made it a point to visit the financial and governmental sectors of La Paz, the very city where this particular photograph was taken.
This period coincided with the presidential campaign of Gonzalo Sánchez de Lozada, who was elected president of Bolivia that year. As the election drew nearer, the city was enveloped in a palpable sense of apprehension. An increased presence of soldiers and police was noticeable, and rumors circulated that the incoming government intended to confiscate unregistered land. Morris surmised that this fear was the driving force behind the individuals in his photograph queuing with their important documents.
But here's where it gets controversial... Capturing this image was far from a discreet act. The distinct sound of his camera drew attention, and as the photograph clearly shows, one individual is looking directly at Morris. He notes that people's surprise at being photographed while engaged in their daily lives is a common experience for him. This wasn't a celebratory event; he understood that the claims being filed were likely due before a rapidly approaching deadline. While he wasn't entirely certain of the precise circumstances when he took the shot, he sensed its profound importance to the people involved and the prevailing tense atmosphere. This feeling, he aimed to immortalize.
And this is the part most people miss... Following the photograph, Morris was approached by plainclothes police officers. He was forcibly placed into a vehicle and transported to a local police station, where he underwent an extended interrogation regarding his presence and activities. He explained that he was a tourist taking personal photographs, but the authorities insisted on confiscating his film. Fortunately, he managed to deceive them by offering unexposed rolls. As he was being escorted out, he was compelled to walk a gauntlet of police officers who proceeded to punch and kick him repeatedly until he reached the exit. This was intended as a warning, accompanied by the assurance that he would be monitored. He did not linger in the city.
This particular image, along with many others taken during that period, was not published at the time. However, they now form a significant part of his series titled Still Films, which draws inspiration from his dual background in photojournalism and filmmaking. Morris has always been drawn to the aesthetic of black and white, cinematic imagery, and scenes that appear meticulously staged despite being candid. The series explores the intricate relationship between cinema and photography, presenting static images that suggest narratives extending beyond the confines of the frame.
While Morris possesses numerous photographs from La Paz that he cherishes, this specific image immediately stood out on the contact sheet due to its filmic quality. The composition exudes tension, with the figures forming a visual line that leads towards an open doorway, itself guarded by a soldier. Yet, there's also an element of ambiguity. He believes this blend of tension and uncertainty is a common thread in all his favorite photographs, both his own and those by other artists. He prefers his work not to be overly prescriptive or immediately decipherable, aiming instead for his images to convey the same sense of excitement and wonder he experienced at the moment of capture.
Morris holds the view that photography is inherently subjective. He has consistently avoided imposing his own narrative when visiting new locations, preferring to observe rather than dictate. His arrival in Bolivia was marked by a lack of preconceived notions or judgments, and he suggests that the specific events unfolding at the time are, in essence, secondary to the power of the image itself. He posits that the most compelling photographs are those that raise more questions than they provide answers.
Rod Morris's Professional Journey:
- Born: Southampton, 1963
- Career Highlight: Winning the Time Out/STA travel photographer of the year award. He utilized the prize money to fund a three-month expedition to South America, focusing on environmental projects in Chile, before continuing his travels to Peru and Bolivia.
- Expert Advice: Embrace a film-photography mindset: be selective with your shots and engage in deeper contemplation. Consider your photographic output as cohesive series rather than isolated pictures. Photography serves as a powerful method for collecting and disseminating narratives.
Do you believe that an outsider's perspective can truly capture the essence of a place or situation, or does it inevitably lead to a distorted view? Share your thoughts below!
