Review of Mark Kalan's Abuelitas

By juror Laurie Freitag | L.A. Photo Curator

What first drew me to Abuelitas was how much of a neighborhood seems to exist within this one small scene. Two women sitting together outside a home, a carefully shaped tree, the light and those wonderful shadows—it feels completely ordinary, and yet very particular to this place.

I love that they’re sitting exactly in the shade of the tree. It almost feels as though the shade is permanent, like it’s always there waiting for them. It gives the photograph this wonderful sense of routine and belonging.

I also love the presence of the two chairs. They seem almost as permanent as the tree. But because we know shade moves, you realize these women must be moving their chairs as the sun changes, just to stay inside that small patch of relief. That idea gives the picture so much humanity and makes the scene feel lived rather than staged.

Questions for Mark Kalan

Laurie Freitag: What can you tell us about the women? How often do these women sit together in this spot? Are they related, neighbors, friends, or all three?

Mark Kalan: I recall that they're sisters. Many Mexican families have multiple generations living in the same house and the street becomes an extension of their living space. (More on that below.) It was also pre-parade so I’m confident that they were waiting for the festivities to pass.

Freitag: What drew you to them before you made the photograph?

Kalan: I was drawn to make the image because of the humanity and symmetry plus the “If you don’t photograph this you'll never see it again” siren went off in my head.

Freitag: Do they usually bring the chairs out themselves?

Kalan: I don’t know though I’m sure that they had family looking after them. Few Mexican seniors are without family looking after them. When I went to make the photo one got up and offered to move but I asked her to stay where she was. After all THEY were the subject matter.

Freitag: What time of day was this, and how hot was it?

Kalan: Morning in autumn. Yes it was hot - high 80s F. Since emigrating to the tropics I’ve noticed people seeking shade is a common site and have been trying to capture it. Yesterday on a walk I saw a couple waiting for a bus on the Carreterra (main highway through the village) that were standing with their heads in the shadow of a walk/don’t walk sign. On the malecon I’ve noticed people setting up chairs in the shade of the palm trees, which is minimal.

Freitag: Did you notice them moving the chairs to follow the shade?

Kalan: No but I’m sure that they did. Here in the tropics shade in important.

Freitag: Is this scene typical of the neighborhood?

Kalan: While many families enjoy the sidewalk and streets in front of their homes. This was unique which is what caught my eye. Some families set up tables, pop-up tents and serve meals. FYI-my barrio is my favorite subject. I do photo walks daily, which is why your “Neighborhood Stories” call fell perfectly into my purview.

Freitag: If you went back to this same spot today, do you think you would find them there again?

Kalan: Probably not. I can assume that they sat there often especially during the parade season though recently that tree has been pruned down only to the trunk.

More About Mark Kalan

I’m a retired commercial photographer then motorcycle journalist and publisher retired in a small Mexican mountain village of Ajijic on Lake Chapala. I no longer travel and as a result all of my photos are local.

I have been documenting the Puebla Magico of Ajijic for twelve years. It is a 500+ year old village that is steeped in tradition. Choosing just six photos from the sixty-thousand in my files has been difficult. I have portraits, parades, rodeos and more to choose from. My goal is to publish a book of 100-200 images. My technique and vision are influenced by the color photographers of the 1960s and 70s. I’ve used many cameras in this work both digital and film.

Born 1954 in New York City I attended high school in the suburbs of Rockland County. I graduated from the now defunct Brooks Institute of Photography June 1978.
Returning to New York City I went to work with the legendary color photographer Peter Turner. Through Pete’s studio I met Jay Maisel and Ernst Haas, All three influenced my vision. Later I became Studio Manager to the late Rebecca Blake and others. In my small loft on Warren Street I pursued commercial work while testing new models for the major agencies. In 1994 I pivoted from commercial and fashion photography into motorcycle photography and motorcycle journalism which allowed me 2-wheeled travel through all the USA and most of Europe.

I’ve won awards and/or cameras from Kodak, Scholastic Magazines, Nikon, Leica, Olympus, Hasselblad, Ricoh, BMW Motorcycles and more.

www.MarkKalan.com
www.instagram.com/markkalan

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