Waikiki Archives - Marco Garcia Photography

A two-minute portrait with Alexandria Ocasio-Cortez

Democrat Alexandria Ocasio-Cortez stands for a portrait before a campaign event for fellow Democrat Kaniela Ing in Honolulu, Hawaii, U.S., August 9, 2018. REUTERS/Marco Garcia – RC1A8566A7F0

Late last week, local politician Kaniela Ing announced political wunderkind Alexandria Ocasio-Cortez would be in Honolulu to stump for Ing’s campaign for Congress.

I approached Reuters News and asked to cover the event which they approved. With the popularity of the social democrat in the media currently, I wanted to capture a portrait of AOC before the rally.

I reached out to her campaign people and arranged to two minute photo shoot. I knew I’d have to work quick and fast and wouldn’t have anyone really helping me.

For the lighting, I opted for a Profoto ring light powered by a Profoto 7B2 and would place her against a silk background stretched over my homemade 6×6 frame. I don’t usually use a ring light because it can be a one trick pony but I figured I would have a tough time moving a light bank and stand around by myself. So I stuffed my Canon 1Dx Mark II with my ever present 28-70mm 2.8 lens into the case with the pack and ring light prepared to move quickly.

The event was held inside a school cafeteria at a school near Waikiki. I arrived early and looked for a place to set up. Ing’s people were scrambling to set up the event and didn’t have much time for me. At the last minute, I was told the meet and greet would be in a classroom upstairs from the cafeteria. I grabbed my gear and rushed up to build my set.

As I ran up the stairs I ran straight into AOC. She had just arrived and was looking for a bathroom. I told her it was downstairs and she smiled politely and I went on to meet her crew and set up the studio.

When AOC returned from the bathroom, her hair was wet like she had run water through her locks. I felt she wasn’t photo ready but her appearance was youthful and it all seem to fit. She didn’t carry herself like a rising political star and it wouldn’t be tough to imagine her running across campus to her next class.

We chit-chatted for a few minutes before I posed her in front of my background which was being held up by two of her aides. I awkwardly told her that standing straight at me comes across like a mug shot so I pointed her feet and shoulders at an angle and I shot about 8 frames of her and that was that.

Afterwards, I covered the rally and got the usual pictures of politicians raging against the machine.

I almost gave up as I lost time and patience trying to get the portrait set up. But I persevered was glad I captured something different of the rising political star.

Democrat Alexandria Ocasio-Cortez campaigns for fellow Democrat Kaniela Ing ahead of the Democratic Primary Election in Honolulu, Hawaii, U.S., August 9, 2018. REUTERS/Marco Garcia

Popular Photography

A few weeks ago, I received an email from an editor at Popular Photography magazine asking me if I’d like to be featured in their “How Traveling Photographer” article for December 2015.

Although I had shot a portrait for Pop Photo a few years ago, I was thrilled to be featured as I was obsessed with the magazine as a very young person. Their articles showcased big name photographers, fancy equipment, and different photographic techniques. They published images from far away places that truly did seem so far away from my little bedroom in San Antonio. I fantasized about one day being a Nikon slinging photographer crossing deep valley gorges to capture exotic people and locations.

At the time, I was taking pictures with an inexpensive Pentax with third party lenses, but I longed for a Hasselblad, a state of the art Nikon strobe, and Kodachrome film. The magazine made me believe if I had a camera with an evaluative metering system along with a Vaseline smeared filter, I could be a jet setting photographer and travel the world.

Jump a few decades forward and I have crossed a few valleys and do live in an exotic location. I just did it without the Vaseline.

The assigning editor asked me for a few of my best Hawaii pictures and set me up with writer, Jeff Wignall, interview me on how and where to take the best beauty photos in Honolulu. The writer and I went back and forth a few times and he came up with a great piece. I’m more of a travel guide than a photographer guru as I gave no technical advice, but it is an enjoyable read nevertheless.

I hope the article inspires a young kid somewhere to dream big about making a life with a camera. I know it did for me.

Hawaiian Wedding Fantasies

Whenever I have the time or the will, I head down to Waikiki to capture the randomness of life on the beach. I’ve always wanted to be a street photographer like Garry Winogrand, Bruce Gilden, or Martin Parr but instead of the cold streets of Manhattan, I’m stuck with bad Hawaiian shirts and endless sunsets. There’s always something quirky on the beach whether its the sunburned Midwesterner in socks and sandals or a self absorbed Japanese girl with a selfie stick.

So the other day, we took a sunset stroll down Waikiki and encounter the usual oddities out and about on the beach. A tout pushing exotic birds photos onto tourists for pictures, nouveau riche Chinese obnoxiously dressed in beachwear, and families scrambling to capture themselves with the fading Hawaiian sunset. We also spotted a Japanese bride and groom dressed up in full wedding garb with their photographer taking sunset pictures.

Many Japanese tourist purchase the Hawaiian wedding fantasy by renting wedding dresses and tuxedos to pose for pictures even though they might not be married or they’ve been married for years. It is an odd sight to see but they are as common as the sunset in Hawaii. So we watch the wedding couple with little interest until my wife notices a group of young Micronesian girls sitting in the surf watching in awe at the Disney fantasy happening right in front of them. With mouths agape, the little sea urchins stare at the ivory skinned bride in her billowing white dress fawn as her tuxedo-wearing prince kneels in front of her for a picture perfect moment with the sun dripping behind the Waianae Mountains.

The photo wasn’t perfect as the kids were just a tad bit too far away and the sun was directly behind making them completely backlit. I quickly maneuvered myself around the scene trying not to catch the attention of the bride or the kids to capture the moment but technically realized it was too hard to capture. So I snapped off a few frames and moved on. Things happen so fast I when you do this type of photography that you can’t dwell on a missed opportunity.

But it wasn’t till we got home and I ran the images through Photoshop that I saw what caught my wife’s attention. I had to pull lighting the shadows shrouding the girls’s expressions and crop tight to balance out the composition but the image captures the fantasy of the little girl’s wedding scene. It isn’t one of my better images but I think it is one of my nicer beach pictures.

In a way, I captured the inequality of life in Hawaii, the life of those who can afford to spend time on the beach and those who have few options otherwise. The young girls appeared to be homeless or at the least, their families were not economically stable. They were playing in front of a larger group of Micronesian adults who were cooking and sleeping in the small pavilion facing the beach. The family also seemed to be harvesting a meal from the sea by spearfishing. Now this is not a bad thing as I would love to spearfish a meal or two every so often but it seemed that might have been the only way to make due for themselves. Many Micronesians immigrants arrive in Hawaii with little and struggle to live in paradise.

My image shows the haves and the haves nots in Hawaii yet none of that really mattered to anyone in the picture. Before they walked off the beach, the Japanese bride sweetly waved at the kids and they screamed and laugh in joy that she recognized them. They yelled “Aloha! Aloha!” and jumped around the sand, thrilled the bride spoke to them. But as quickly as the girls lined up to watch the Hawaiian wedding, the squealed away through the surf when a relative returned from the depths with what looked like an octopus on the end of his stick.

Surely both would enjoy a lovely meal that night, the Japanese eating slices of tako sushi at a fancy restaurant, and the young girls undoubtedly slurping on a similar dish of octopus…just with a better view of the ocean.

The blue-green “see” from a different angle.

After living in Hawaii for sometime, its easy to forget about the beauty that surrounds us. The blue-green sea, the white (eroding) sandy beaches, the food, the weather, the mountains…I can go on and on describing wonderful Hawaii. So its always a challenge when clients ask for something slightly different for as an opening shot.

At any moment, somewhere somehow is snapping a picture, whether it is a family shot or professional shot, around Waikiki. It is one of the most photographed pieces of real estate in the world. There are thousands of professional pictures available on line and clients can easily pick a beautiful stock shot for pennies over a custom shot (uhhhh….for pennies—I digress!) Why hire when there is so much available? Because a custom shot gets you a unique, dare I say signature, vision from a professional photographer that no other client will have.

The Los Angeles Times asked me to shoot a full page image of Waikiki for their travel story illustrating a budget friendly vacation in Honolulu. The editor sent along few images taken by the writer and wanted me to capture a similar feel. My only parameters were to shoot from above, keep it vertical, and ensure I had a killer image at the end of the day. Jobs like this really get me fired up because no amount of money really accounts for all the time and effort it takes in finding a shot as such. But the outcome is completely worth the input. I couldn’t imagine doing anything else as the challenge of my craft is not work, it is just an extension of my life.

The pictures taken by the writer were photographed from one of the better hotel balconies on the beach. All the elements lined up and and made a pretty different view of Waikiki. Oddly enough it seemed the picture wasn’t from one of the budget hotels in the story so my challenge was not to present my image as such. The art direction was to capture Waikiki, not illustrate the story.

Fabulous views command big money and hotels rates are based on the amount of ocean and beach seen from the room. I could easily have called up one of the beach front hotels and asked to shoot from a room but hotels tend not to help you unless the story relates directly to them. I don’t have the budget to shoot from a rented hotel room and a helicopter view was not the perspective the client was after.

After living here for some time, I learned it is possible to enjoy Hawaii without blowing too much diñero and having a great time along with tourist who are taping out their credit cards. I also know how to find the big dollar views without having to shell out big money for hotel rooms or fancy restaurants. Sometimes just wandering around a big hotel looking like a tourist can help you gain access to views you might not be able to if you wandered in full camera regalia and reeked of the decisive moment. Looking like a clueless tourist with a Best Buy camera bag will keep housekeepers and bell hops off your tail.

So without revealing too many tricks of my clandestine trade, I got into a hotel, shot down at the beach and made a marvellous shot. I won’t reveal my location but a Waikiki sleuth might be able to pick it out based on what is in front of them. Needless to say, the Times editor Tears for Fears (I’m feeling overly cheeky tonight!) over the images as she had a large variety to choose. In an email after the article published, she stated “everyone LOVED the photos.”

That kind of praise makes the hours and time put in completely worth it. Again, it doesn’t take much to sea…err…see things from a different perspective. I just awaken my paradise slumber and look around.

ca 1990

In the early 1990’s, I took a design class with a professor whose name escapes me. He taught 2D Design during my freshman year at UT Austin and I found myself painting, drawing, designing and generally having a wonderful time exploring mediums I had never worked with. The class he taught focused on basic art fundamentals; the mild mannered professor knew his stuff. He once claimed he had famed actress Farrah Fawcett in his class back in the 60s. She was from Texas, you know.

My classmates rebelled against conformity, reality, sexuality, and just about anything to rebel against. Some thought they’d be the next Schnabel, Basquiat, or Haring. Mostly they just wanted to get high. I had a hard time relating as I grew up in conservative San Antonio with a Sergeant father, a Bible-beating mom, and a brother who was a cop. I clearly had no intentions of turning out to be a sculptor, performance artists, or general anarchist. I knew I would be a photographer but drifted in and out of majors my first few months drawing towards the art department for a few classes.

In class, no one really told us we were wrong; but kept encouraging us to create and explore what we might not know. I quickly learned that everything in art is subjective but the fundamentals were the bedrock. In this 2D class, the professor had us do an exercise on a white sheet of paper with ink. As I recall, he gave us no real instructions other than to draw lines on the paper. I took my ink pens and ruler and began to doodle.

I had no formal art education at school or in my household. I drew and colored lots as a child but made nothing extraordinary. We’d go to the McNay and the Whitte Museums often and I was always enamored with the old masters and the shapes of the sculptures and figures on display. I guess I had some informal understanding but nothing that an art professor would notice.

At the end of our exercise, the prof came over and critiqued my piece. I remember so clearly he pointing out my sense of balance, negative and positive space, and weight of design. I just saw them as straight lines. I didn’t understand his words until later when I became a professional photographer and began my own career.

I’ll often wander Waikiki in the late afternoon as the tourists begin heading back to their hotels. As they roam around the sand seemingly astounded by the spectacular sunsets, most drop their guard and I’ll capture some interesting moments. As I made my way around a group of people, I noticed this woman wrapped in a damp sarong standing on a pier. I saw her in my peripheral and pushed my way towards her to capture the moment. I wasn’t sure why I was drawn to her other than I found her attractive and secluded from the hoards of people crowding the area to watch the sunset. I began talking out loud to myself noting the monotone colors, her curves, the horizon, and the bend of her arm as she brushed her wet hair from her shoulder. I fired off maybe six frames before the composition was disturbed by people walking through. It was only when I chimped the image on the back of my Leica did the professor’s words echo in my ears. I saw the “balance, space, negative and positive, and weight of my lines.”

Once I got home, I searched for that ink drawing that I’ve kept with me all these years. I was astounded to see how my experienced camera eye had now been able to see, almost naturally, what I drew so long ago, but couldn’t quite comprehend.

I’ve never professed to be an artist. I’ve often said I xerox what’s in front of me. Nothing more…just pressing the copy button instead of the shutter button. Yet I’m happy to hear the professor’s words echo in my head when I do push it. Those words make me realize I might be more of an artist than I think.