1992 Waiter

Description

Waiter

When I arrived in Barcelona for the first time in 1992, and stood in the stream of people on La Rambla, I remember thinking the number of people living on the streets was incredible. I instantly knew I had to try for my self to get to know what it was like. So I spend 2 month during the time of the Olympic Games in the summer on the street, and one month in the winter. I wanted to do a documentary on the changes of a city, when The Olympic Games comes to town. Seen from a street level. And, as many other host cries of The Games, Barcelona exported it’s citizens of the street out of the town during The Olympics. Clean streets for the worlds eye. One of the clearest memories was squatting on the pavement in front of a very people shy man. He was speaking Arabic. And I was speaking in English at first, but realized it didn’t matter what language we spoke. He was clearly getting relief from speaking his mind to another human. It was a very clear and deeply touching moment. Especially because I knew the man was living in the sewer of the streets close to the beach. And never spoke. And never looked people in the eyes. What has driven that man to live where he lived? Literally in the pipe of shit of the city?
This is classic street photography. Every major part of the photograph aligns with my thoughts from those days. Bringing in all these visitors from around the world when the city can’t even take care of it’s own. Doesn’t seem right. So ’time out’ and send it all to the parking lot. Please.

Print size: 4,5 x 7 inch (11,5 x 17,5 cm)
Frame size: 7 x 9,5 inch (18 x 24 cm)

Place: Barcelona, Spain
Year: 1992
Month: July
Camera: Leica M-6
Lens: Summicron 35mm. f.:2
Film: Kodak TMY 400 at 200

The photograph is hand signed and dated on the mat (passepartout) by Jesper Sø.
The frame is made in Denmark using FSC certified wood (wood from sustainable forestry) and arrives to you without glass. Not because of the easier shipping, but because I believe photographs should be enjoyed without the visual disturbing light reflections on the glass.
The mat (passepartout) is cut from PH neutral carton.
The digital print is made on Fujicolor Crystal Archive Paper Supreme. As the name suggests it has good archival abilities. That being said, nothing stays unmarked of time and light, so the image has a sort of build in change over time, as any other photographic image has.

Viewed image colors and contrast will vary with monitor type and settings