The best word to describe Hentie and Hilda-Marie’s approach to a photographic session of the Himba people is “professional”. Arrangements are made weeks before the time. First of all, they study their subject, reading literature and interviewing experts to gain as much insight into the traditional Himba people and their culture as possible. Then an appropriate guide is selected. This, Hentie will tell you, is extremely important. The right guide will already have established a good relationship with the community and will act as translator, interpreter and host. A guide who understands the language and culture of the Himba acts as a trusted and respected go-between. This person also negotiates the matter of payment.
In the Burger’s case, they worked with Koos Verwey, a Herero-speaking “white Himba” who has been initiated into the tribe by the Himbas, after having lived in the area for many years. For this specific shoot, remuneration was fixed per half-day session, paid in maize meal, tobacco, hair extensions, salt, fresh water and some cash. The fresh water (a much appreciated gift, seeing the Himba have to dig for or carry fresh water to their villages from miles away) and produce had to be transported from Windhoek by truck.
After doing your homework, finding a guide and negotiating a fee for the photographic shoot, the next most important thing, according to Hentie, is to allow enough time. The photographer and the Himba people need to feel comfortable and relaxed enough for the photographs to look natural. To them this means spending at least a week on the site.
By the time they arrived, the Burger’s had already spent several days contemplating potential shots, experimenting with different light filters and angles, even building a hut in their garage to make sure they had thought of everything they might need. Hilda-Marie, for instance, would need a ladder to take shots of the taller men from the right angle. One of the Burgers’ black employees was excused from his day job to pose, complete with some of Hilda-Marie’s jewellery, for the photographers to experiment with different light exposures. For some jewellery they used white, silver and gold reflectors instead of the more extreme flash. They did their best to determine the optimal method for photographing the red-black Himba skins, gleaming with pigmented fat, before the time.
Once on location, the guide introduces Hentie to the tribe. The cameras are not taken out before these formalities are concluded and permission has been granted. Only now does Hentie start the shoot. After every half-day shoot, all actions are carefully documented and the relevant information recorded.
At the end of the project, Hentie and Hilda-Marie go home with a successful product and a memorable experience, leaving the Himba to continue their unique lives, having earned themselves good money without compromising their privacy or traditions.