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As photographers, we have all come across interesting characters who have looked like a famous portrait waiting to happen. It could be at the bus stop, a crowded market, the house next door, or in rural Pakistan.

Regardless of where it is, photo ethics call for a personable engagement, conversation, and even permission.  But in situations where a language barrier exists, or strict taboos are in place, a more subtle and indirect approach is required.

In Asia, particularly in Pakistan, there are endless differences in cultures and ethnicities that vary drastically over short distances, sometimes in mere feet. The almost immediate division that happens when crossing province borders became an interest of mine while in rural Pakistan.

Meeting these Muslim men in various regions, I began to notice subtleties in ethnicity; the length and dye of beards, the weave and color of fabrics, and the pigment and texture of skin. Most living hard, agricultural lives, I could see the care and worry in their eyes, the tension in their shoulders, and the ease or lack of smile lines. I wanted to take all of their portraits, but was often intimidated by their stern manner, and was at a loss of how to approach them.

Most of them spoke no English at all, so I had to rely mostly on eye contact, hand gestures, and body language to communicate. I learned to adapt to different regions cultures and customs.

Though I was dressed in local garb, and looked the part with a dark and thick beard, I had to be extra attentive and aware when revealing my camera. There are certain taboos with photographing in Pakistan, particularly around women, and some offenses could be met with swift and brutal retribution, as the people can carry out Islamic law.

Pictures cannot be taken there, but rather, must be given. A sensitivity and grace is required to negotiate the complex cultural landscape, and customs and protocols of an Islamic society.

Despite the somewhat intimidating circumstances, I managed to apply a method that often worked to break the language barrier, and won their temporary photo trust.

After observing the environment, I would pick something close to the person I wanted to take a portrait of, and photograph that. Often times it was a goat, a horse, a wall with Arabic painted on it, or a puddle of water. I would then review the image, subtly tilting the screen in their direction. Once I could see that they looked, I would take another shot. This time, I would turn the screen towards them, and gesture for them to take a look.

Often nodding with their approval, I would continue to take shots of surrounding objects until the subject showed an interest in my photographing of the surroundings. When this language barrier was breached, their guard would drop. It was then that I would make a hand gesture towards them, gently lifting my camera in their direction, asking permission to take their portrait.

Some would shake their head no, or even gently wave a finger at me, and I would go about my way. But others would shrug, smile, and then straighten their posture for their portrait. Almost every person who did let me take their picture smiled garishly after I showed them, often laughing aloud, and calling their friends over to look. If I was lucky, this led to an impromptu photo shoot of friends, family, and even pets.

It was in this way that I managed to photograph a number of extremely interesting looking people throughout Pakistan, and even put smiles on many of their faces.  I always approached people as a curious onlooker, as someone interested in learning and participating in aspects of their life, culture, and rituals, and I believe that they could sense that.

What turned out was that I not only had intimate portraits of these people, but informing photographs of their rural homes and lifestyles, and even their families. I approached them with modesty, respect, and most of all permission, and was often rewarded with the opportunity to capture a unique and somewhat rare portrait.

This learned method and patience has helped me re-define the way I approach subjects and situations, and has helped me to not only view myself as a photographer seeking pictures, but as an observer seeking unique moments, which may sometimes be successfully photographed.