The Man In Havana - part 2

Sydney Higgins: How did you become interested in photography?
Osvado Salas: Well, I was a machinist, and the men at work were always talking about their photography. They kept on saying, 'Salas, why don't you have a go?' So I bought a Perfect Camera for $25.00 and joined the Inwood Camera Club in Washington Heights. That was in about 1945, and within a couple of years I'd won my first photographic prize.

SH: And was that why you became a professional photographer?
OS: No. I did that because I had a bad accident at work and I couldn't stay on there any more. So I started taking pictures round the nightclubs in Manhattan.

SH: So how did you get into sports photography?
OS: That was when my landlord threatened to throw us out of the house because I was using too much water. I'd set up a darkroom and I was doing all my developing there. So he wanted to raise my rent by $25.00 a month, and I said, 'I'm just not going to pay you any more money. But I promise I'm not going to develop any more pictures in my house.'

So I had to look for a studio. I'd always been interested in sport, especially baseball. Once I even had a tryout for the New York Giants. I took a place near Madison Square Gardens, hung a sign saying 'Photographer' in the window, and started as a sports photographer. Any time a newspaperman came over from Cuba to the US to watch a fight, he'd call for me to take the pictures, knowing that I'd been born in Cuba.
 

SH: When you started photography, how soon did you feel that the camera was part of you?
OS: It is a part of me. Naturally, the more years you are taking photographs, the more you feel the camera is a part of your body. If I go on vacation and don't take my camera, I'd rather not go on vacation. I don't regard my work with a camera as a job; it's a thing I need to do. It's a necessity.

I don't worry who I take. I don't put more effort, say, taking a picture of a young child or Fidel Castro. To me, every subject is important - you know what I mean? A photograph is always important. If it isn't why should you bother taking it?

SH: After Batista had been overthrown on January 1, 1959, you accompanied many of the leading revolutionary leaders on their official trips. How did this happen?
OS: After I'd first met Fidel, I was part of the 26th July Movement, so I knew most of the people. I went with Fidel to Venezuela early in 1959, then Camilo Cienfuegos went to New York, and I went with him to Washington and did a lot of work with him. Then I accompanied Fidel during his visit to the US in April 1959. At the end of that trip, I came back to Cuba. Carlos Franqui, editor of Revolution, says to me, 'Look, I think with 400 pesos a month you can live pretty well here, you know. I'm going to give you 200 pesos a month, and you can go to Bohemia and maybe they can give you another 200 and you'll make a living.

So I went to Bohemia, but they don't have anyone on the payroll steady and say they can pay only according to which of my photographs they take. I came back and told Carlos and he said, 'Damn cheek. Well, don't worry. I'll give you the 400 pesos a month.'

So I decided to stay. Working in Cuba, I was making more that the editor of the paper. In less than six months, I was working for three different organizations and was making 1200 pesos a month. Then, in 1967 or '68, a rule was made saying people couldn't have more than one job. So they gave me 250 pesos a month. Now I'm retired, they pay me 192 pesos a month. There's no rent on this house or my studio, but I don't earn enough. I need to draw on the little savings I have in the bank.

SH: How important is it for you to develop and print your own photographs?
OS: Well, I guess a photographer has to do the job completely in order to get satisfaction, because you can't just take a photograph and send it to a lab to have it done - although I must admit I feel right now that I'd like someone to print my pictures because I hate the darkroom. I used to be able to spend ten or 12 hours there, but now after an hour or two I get tired. I guess that's old age more than anything else.

SH: Which is your favourite picture?
When I'm asked what is my best picture, I always say it's the one I'm going to take tomorrow. Am I right?

Part 1 - Click here

'The Man in Havana' © 1990 & 2003 Sydney Higgins