There is no shortage of videos on YouTube that feature photographers out in the world, taking pictures. Many…too many… feature young, hipsters shooting film. These videos are one of the reasons that the aftermarket for old, analogue cameras has exploded over the past few years. What was once old equipment that no one wanted is now commanding ridiculous prices on Ebay. If there is a new YouTube video released featuring an up-until-then obscure camera, the price immediately starts creeping up. But the curmudgeon in me has to also tip my hat to these neophytes, since they are truly the ones keeping film photography off of life support.

I prefer my vicarious photo shooting viewing to be centered on masters of the medium. There is one film in particular that I’ve been wanting to see for some time. The movie is called Koudelka Shooting Holy Land. I’ve been waiting to see if it would pop up somewhere for free, but alas, I finally caved and dropped 10 bucks to stream it at home. Was it worth it? Absolutely. It is an often quiet meditation on the challenges of finding inspiring subject matter, and approaching it with a critical, yet compassionate eye. Koudelka shot the areas in Israel that are the meeting points between Palestinian lands and Jewish settlements. The photos resulted in an amazing book from a few years back that I’ve written about previously, titled Wall. It was a joy to watch him wander through environments that at one turn were mundane, and at another, quite tense. Koudelka navigates it all with a world weary resignation that I found charming and inspiring.

Some of the most compelling moments in the film occur when Koudelka navigates the hyper-security measures in place at border crossings and checkpoints. For a photographer who first came to prominence documenting the Soviet invasion of his native Czechoslovakia in 1968, he is no stranger to working in challenging situations. Yet most of Koudelka’s interactions with the authorities amount to mostly gruff but docile harassment from military people who are more concerned with threats of violence and not an old man with a panoramic camera. Still, hearing a voice shout from a watchtower as he sets up a few of his shots is enough to give me concern for his safety. Yet Koudelka slowly, deliberately continues his work, unfazed and unintimidated by the powers that keep watch over a complicated mix of politics and differences in faith, all while adding to the tension and division that the photographer himself is quietly, critically assessing. If you get the chance, spend the 10 dollars and watch a master at work.

One of the pleasures of having a quiet night at home is stumbling upon a surprising film on your streaming platform of choice. I happen to be a A%*+#n Prime member, so after perusing their offerings, I found a wonderful documentary about the photographer Sebastião Salgado. I’ve seen his work many times over the years, and have always been impressed by his artistry and his compassionate eye.

This particular film, called “Meeting Sebastião Salgado” was remarkable, not only because of the breadth and quality of the work show, but also the display of love and compassion Salgado has for his family. It is logical to see that this love extends outward towards the subject matter of his photographs as well.

There was one segment of the film that stood out the most to me, however. Salgado discusses his process for approaching a project, which often takes many years and many trips around the world to complete. But I was taken and inspired to see how the photographer uses contact sheets, test prints and enlargements all throughout his editing process. Even though he has transitioned from film to digital, he still has his assistants create “digital” contact sheets of every image he shoots. He still reviews them with a loupe and a red china marker. He has file cabinets filled with impeccably organized test prints and negatives, as well. It was a fascinating peek behind the curtain of a great artist, to say the least.

See the film here: Meeting Sebastião Salgado