Photographing a Traditional Amazonian Culture

Photographing in the jungle is difficult. Heavy moisture and low light are tough obstacles for a camera and photographer to overcome. But what makes the idea exciting? Meeting with, observing, and documenting a traditional - almost ancient - culture. 

The Matis people in Amazonian Brazil were first contacted by the modern world in the 1970s. A small amount of contact has been had since then, but the Matis are still very much traditional in their society and way of life. The Matis were once nomadic people who moved villages every few years. But western diseases wiped out their population after first contact with the modern world. Now, only two villages remain - both situated on the Itui River. 

Michael Herring, a SUNY Plattsburgh Expeditionary Studies student and travel photographer, traveled to Colombia for a rock climbing trip as part of his school's program. From there, Herring, along with members of the Explorers Club and Feral Human Expeditions, paddled up the Amazon into Brazil to meet the Matis just outside of the Vale do Javari Indigenous Reserve.

In addition to studying the Matis' building tools and medical practices, what was unique about this trip, (besides being able to meet and interact with a traditional people and culture), was that Herring and his team were in Brazil to document a discovery. A few months prior, Herring and Garret Cooper - owner of Feral Human Expeditions - were in the Smithsonian Natural History Museum in New York City. During their visit, they stumbled upon an "Ancient Peoples of South America" exhibit. One plaque in the exhibit stated that the curare vine was used by one tribe to make poison for darts. But Cooper knew firsthand this wasn't true. He had met with the Matis in the past and knew they used the curare vine, too. 

"We watched the Matis find the vine and harvest it," said Herring. "They created the poison out of the vine by shaving the bark, mixing it with water, boiling it down until it was a paste, then applying it to darts"

One of the biggest challenges Herring faced in photographing the people was the fact that the Matis and the explorers were so different. "The first thing I did was to make sure they were comfortable," said Herring. "I focused on the things that make us similar simply by talking and laughing with them. Then I'd move into photography."

But deceivingly-dark lighting conditions mixed with heavy moisture in the air makes photographing in the jungle extremely difficult. "First you’re shooting the floor of the jungle, then the canopy," said Herring. "You’re dealing with very dark shadows then strong highlights as light breaks through leaves."

Plus, there was a lot of motion involved specifically during monkey hunts and dances. A creative decision Herring made was to roll with motion blur in some photographs, as they added liveliness to the images and helped show that the Matis are people, not just subjects to be photographed.

To help combat dark shooting conditions, Herring brought his Canon 5D Mark III and 24-105 F/4 lens. Although he had to bump up his ISO while photographing, the grittiness that comes with lots of noise added to the overall emotion and theme of his work. 

For five days of shooting the Matis in the jungle, Herring brought along two extra batteries and solar panels, as his team used solar-powered outlets to recharge their gear. He did bring one extra lens, but never changed lenses because the dirt and humidity of the jungle were too harsh. To help combat the humidity, Herring always carried a roll-top dry bag with him and put his camera in the bag while not photographing. He knew the Mark III is weather-sealed, but at the end of the trip Herring still had humidity in his camera and lens and battled a harsh fog in his gear constantly throughout the expedition. "If I could have brought anything it would've been giant silicone gel packs that suck up moisture," said Herring. 

But there was a bigger takeaway from the expedition than documenting the discovery. There was a realization of what it means to be a travel photographer.

"I wanted to make sure I was observing the experience. I wasn't there simply to collect data, get a story, and move on," said Herring. "I wanted to make sure I wasn’t losing the human element." 

On the expedition, Herring realized he was walking a fine line between photographer and passive observer of a unique and little-known culture. Rather than be obtrusive by sticking a camera in the faces of the Matis, Herring aspired to take a mellow approach. For him, the people were more than just a subject to photograph, and he wanted to make sure they felt that way. "I think this should always be the primary objective, regardless of deadlines needing to be met or objectives needing to be checked off. I want to have respect for the people I'm photographing." 

Cooper and Herring shared a symbiotic relationship in which Cooper needed photographs for his company and Herring wanted to travel. But by photographing a tribe that rarely connects with the modern world, Herring questioned his position of travel photographer many times throughout the expedition. He never wanted to get too close to the Matis, or obstruct a traditional ceremony because he needed the picture. The key to photographing this culture wasn't to capture every moment, but rather know when to click the shutter and when to put the camera down. 

"The best advice I could give to any photographer is to respect where you are and who you're photographing," said Herring. 

On March 11 at the Explorers Club headquarters in New York City, Herring's team is presenting their findings. It's possible someone from the Smithsonian will be present, too. 

You can visit Herring's website to view more of his work.  

All photographs were used with the permission of Michael Herring.