I first met Guðjón Þorsteinsson by way of my work as a photographer for the Icelandic day by day newspaper Morgunblaðið. He and his older brother, Óskar, ran a farm above the peninsula of Dyrhólaey, a few hours’ drive from Reykjavík. A raging storm had damaged a lot of energy traces so the farm had no electrical energy. I’d heard the brothers have been having to take advantage of their cows by hand and thought I’d be capable of get a great image for the paper.
When Guðjón opened the door, he simply mentioned: “What would you like?” He wasn’t very pleasant, although I sensed this was an act. He invited me in for espresso and I ended up getting the photographs I needed, however after they ran within the paper, somebody complained that the cows appeared soiled and so they have been taken away. Feeling it was my fault, I went again to the farm to apologise. Guðjón mentioned: “I’m glad – I didn’t need to milk them anyway.”
We grew to become buddies, and I might all the time cease if I used to be travelling previous his dwelling. On the day this was taken, in 1995, we have been strolling on the black volcanic seashore beneath the farm with Guðjón’s canine, Gái. Guðjón was in search of a mink that had been killing his eider geese. There was a moody environment, it was windy and there was salty spray flying in all places. Dyrhólaey has a big rock arch that you would be able to see within the background right here. I had a aircraft and had as soon as flown by way of that gap within the cliff with a good friend. Óskar wasn’t impressed by that – he mentioned we’d encourage others to attempt to do the identical and so they’d kill themselves.
Once I checked out Guðjón, it was like seeing an entire nation in a single face, proper again to the Vikings. He was sort of indignant that day, concentrating on discovering the mink, and I used to be in a position to {photograph} him off guard, which is what I’d needed. This second simply occurred. He was distracted and being fully himself. I noticed the shot and managed to catch the waves within the background hitting the rocks.
The {photograph} sort of breaks the foundations of framing, however it works. It was a turning level in my profession. Till I took it, I felt somewhat like Robinson Crusoe caught on my island. I’d attempt to curiosity editors and publishers in my work exterior Iceland and so they didn’t need to know. However even now, at any time when I’ve exhibitions, curators need to embrace farmer Guðjón. I carried on visiting him till his loss of life in 2006, when he was 81. I nonetheless took pictures however not many, as a result of I felt I had already captured him. I typically discuss this image when it comes to songs: this was my Yesterday, and I wasn’t going to high Yesterday. I needed to maneuver on to my Let It Be, my Hey Jude and my Right here Comes the Solar.
The picture opened doorways for Guðjón, too. As soon as his face grew to become recognized, he was employed for some ads and as an actor in a few motion pictures. After doing considered one of them, he known as me and mentioned: “I’ve cash for you.” He couldn’t imagine how a lot they’d paid him. I instructed him: “It’s your cash, not mine.” He was very completely satisfied about it, as a result of by that stage his brother had died and he’d been residing alone for some time, so he was sort of lonely and glad to have one thing to do. They’d made a terrific double-act, these brothers. Typically I went there simply to hearken to them argue. It was a lot enjoyable: they have been like the 2 previous guys within the balcony seats on The Muppet Present.
I labored for the Morgunblaðið for 44 years and solely left in 2020, to pay attention totally on documenting folks within the Arctic areas and the impact the local weather disaster is having on their methods of life. I’ve been visiting these locations for many years and photographed generations of households. As with Guðjón, I discover one of the best footage occur after I’ve turn out to be so acquainted that these buddies of mine overlook what I’m doing. Then I can {photograph} them like I’m probably not there.
Ragnar Axelsson’s CV
Born: Iceland, 1958.
Skilled: Morgunblaðið newspaper
Influences: “W Eugene Smith, Mary Ellen Mark, Henri Cartier-Bresson, Don McCullin, the Beatles, Caravaggio, Rembrandt.”
Low level: “I don’t take into consideration issues that didn’t go effectively previously, that isn’t the place I’m going.”
Prime tip: “Observe your instincts, do your personal factor, imagine in your goals.”
Supply hyperlink
