Australian_Photography_-_June_2016_

AUSTRALIANPHOTOGRAPHY.COM 31

ABOVE

On the streets, a

moment can come

and go in an instant.

Getting low is a

great way to frame

your shot.

OPPOSITE TOP

Candid moments

can often be the

most interesting.

Wait for your subject

to relax, then take

the shot.

OPPOSITE

BELOW

The streets of

Trinidad have

no shortage of

characters. Framing

your subject in their

environment makes

for a much more

engaging photo.

AUSTRALIAN PHOTOGRAPHY JUNE 2016

quality and still allow a fast enough shutter speed to freeze
any action. “Real life is not blurry. Your images must be sharp
or they are worthless,” he explains. “Check that you’re getting
an aperture which provides a generous depth of field, around
f/8. If you can’t get this, that’s when you need to increase your
ISO,” he adds.
Muñoz also suggests I use back button focus, allowing me to
focus faster and free up my shutter button so it just takes photos.
“The idea of street photography is to work quickly and unseen,
like a ghost,” he explains. As a result, I’m told to dress in clothing
that won’t draw too much attention when we’re out shooting.
“Photography vests are officially banned,” he declares. To help
me blend in I wear a dull shirt and plain shorts, but I’m still
resigned to the fact I’ll probably stand out as a complete tourist.
Muñoz’s camera gear is basic – a Canon 40D from 2007 with
a 28mm prime lens. In his eyes, modern gear isn’t necessary
and he baulks when I suggest bringing along a 50mm prime to
accompany my 35mm. “There will be no changing lenses. You
will take one lens. If you are busy messing with your camera
settings or gear you will miss the photo.” As Muñoz explains,
the right moment is magic. “It can appear and disappear in
milliseconds – don’t lose it forever!”
When he’s not looking, I discreetly change my drive settings to
single shot to match his – but my spare lens stays safely at home.
It’s simple and direct advice like this that has helped Muñoz
become an in-demand photo tutor and lecturer, as well as
probably the only person in Cuba doing street photography.

Originally working as an English speaking fixer for visiting

photographers and filmmakers, Muñoz became friends with

Magnum photographer David Alan Harvey who graciously took

him under his wing. “He taught me the basics of composition

by drawing the rule of thirds on a napkin,” remembers Muñoz.

“He was a great mentor for me.” Muñoz was also lucky enough to

work closely with British photographer Keith Cardwell, who has

visited Cuba many times.

Gifted an old film camera Muñoz began taking photos but

quickly realised there were no studios in Trinidad where he

could develop his slide film. So, like many Cubans, he had to

improvise. “I’d send my films to friends in the US – they would

be the first ones who’d see the shots. I felt great pressure – if I’m

going to go to the trouble of sending my photos to America, and

then expect my friends to develop and send them back, they

needed to be good. It forced me to work harder and get better.”

With a laugh, Muñoz explains he also saw something that

few other people in Cuba had considered – the potential for

photographs to connect with an overseas audience hungry

for nostalgic images from a place so recognisable. “I got great

money for the first photos I sold to National Geographic Travel

magazine,” he says to me, grinning. “It helped pay for this lens.”

My initial camera set-up over, we’re now out on the street and

already surrounded by countless photo opportunities.

“With street photography, you must take control of your

camera,” Muñoz explains as we narrowly avoid a wheezing old

car. “In landscape photography things don’t move – out on the

IMAGE: JULIO MUÑOZ