British photographer Michael Donald has shared a gripping account of a 2007 photoshoot with Brazilian football legend Jairzinho, revealing how he captured a now-iconic portrait just moments before his crew faced a gunman in a Rio de Janeiro favela. The incident underscores the challenging and often perilous conditions documentary photographers can encounter in their pursuit of compelling imagery.
Donald, who admits not being a fervent football fan, embarked on an ambitious four-year project to photograph all living individuals who had scored in a World Cup final. This extensive endeavour, which saw him travel to 13 countries with a documentary crew, culminated in a series of intimate portraits, including that of Jairzinho, a pivotal figure in Brazil's 1970 World Cup victory where they defeated Italy 4-1 in Mexico City.
The portrait of Jairzinho, known for his work with underprivileged children in Rio's favelas where he runs a football school, was taken in the Manguinhos neighbourhood. Donald recounted the unwritten rule that non-residents must leave the favela by 5pm. Having hired local security, who later departed, Donald spotted an old football table outside a bar as they were preparing to leave, prompting him to request '10 more minutes' for an additional shot with Jairzinho.
As Donald, using a Hasselblad on a tripod, focused on the shot with his assistant, he became aware of a heated conversation behind him. A man on a bicycle, initially unnoticed by Donald, had approached and pulled a gun on his director, Dan, and producer, Gretha. Despite the escalating danger, Donald, absorbed in his craft, continued shooting until he was satisfied with the frame. He then turned to witness the direct threat to his colleagues.
Donald expressed his appreciation for his director and producer, who, despite the clear and present danger, allowed him the crucial extra minutes to get the shot he envisioned. The team made a swift departure shortly after. Donald noted the irony that the portrait itself gives no indication of the 'chaos' unfolding behind the camera, a common characteristic he finds in documentary photography.