Archive for the 'entrevistas' Category

21
Jan
09

Entrevista com…José Duarte.

Tenho seguido a (para já) curta carreira do José Carlos Duarte e tem sido alguém que tenho colocado no meu radar como uma sólida aposta na fotografia recente portuguesa. José Duarte começou no flickr mas sempre com boa fotografia, com composição tranquila e sólida. As suas paisagens urbanas retratam bem o lado desolado e desumanizado das nossas cidades, com a aposta no formato quadrado do médio formato analógico a reforçar ainda mais esse lado fechado da arquitectura urbana e industrial.
José Duarte constrói um mundo próprio que se alimenta da melancolia dos espaços urbanos e que nos devolve pequenos ‘frames’ de um filme inacabado, sem personagens que o habitem. Mesmo o seu trabalho de retrato acaba por ser contaminado por esta visão melancólica sem rosto e o resultado é simplesmente o retrato do desalento.
Este ano o seu trabalho foi premiado com a menção especial no concurso ‘Fnac Novos Talentos’, vendo finalmente reconhecido o seu talento e visão fotográfica apurada. Ficam aqui as suas palavras…

Como começou a fotografar e porquê?

Em 1990, um amigo mostrou-me a máquina SLR do pai dele e, sendo eu então muito influenciável, contagiou-me todo aquele entusiasmo. Fui trabalhar um verão inteiro a servir numa esplanada para arranjar dinheiro para a 1ª máquina SLR. Durante o ano que se seguiu importunei todos os meus amigos com pequenas cenas encenadas. Fui praticamente autodidacta com a técnica e segui uma espécie de instinto com o resto. Seguiram-se períodos muito irregulares e mesmo alguns anos de afastamento.

Pode-se dizer que recomecei do zero no final de 2005. Se antes não sabia porque o fazia, agora sei que fazer imagens é uma absoluta necessidade.

Na sua opinião o que faz uma boa fotografia?

Não conseguiria dar uma opinião sem cair em clichés que todos conhecemos e sem contextualizar (foto jornalismo, publicidade, documento, etc.). Às vezes deixo de acreditar na imagem isolada, sem texto, contexto ou apoiada por um qualquer agrupamento temático ou estético. Outras vezes fico sem perceber porque gosto de uma imagem e porque que razão não me sai da cabeça.

Creio que uma boa imagem não nasce somente no acto de carregar num botão. Quem olha para ela não deve ficar indiferente. Se nos demoramos a olhar para uma imagem é porque deve significar algo – há a possibilidade de ser boa…

O que o leva a captar uma fotografia? O que é que precisa de ver no tema para premir o botão do obturador?

Se estou a fotografar para uma série específica, tento ser mais racional – mas nunca totalmente. Posso decidir antecipadamente o que fotografar, a que horas, com que tipo de luz, de que ângulo, com que equipamento… Disparo quando acho que os elementos na imagem preenchem os requisitos dessa série e seguem uma mesma “linguagem” e raramente disparo mais do que uma vez ao mesmo motivo.

Outras vezes, sou bastante impulsivo e deixo que outros factores me influenciem. Por exemplo, se estou a ouvir música no iPod, isso pode condicionar bastante o resultado. Se estou com alguém, o mesmo acontece. Por isso é que costumo fotografar sozinho, de preferência com o telemóvel desligado.

Tem alguma rotina para reunir as fotos para os seus projectos ou deixa-se levar pelos acontecimentos?

Não consigo ter uma rotina com a fotografia. O tempo não me deixa. A única situação que se poderia aproximar de tal, é o facto de usar o Domingo como dia dedicado à produção de imagens. No pouco tempo livre que tenho, só fotografo se me apetecer realmente fazê-lo. O resultado pode ser bastante frustrante se assim não for.

O tipo de projectos que tenho neste momento é tão diferente que nunca se torna rotineiro, mas exige uma auto disciplina acrescida, para não me dispersar.

Isso não quer dizer que nunca me deixo levar pelos acontecimentos. Muitas ideias nascem disso mesmo.

Curiosamente, uma das séries que fiz no verão passado (e que ainda não editei) regista uma altura rotineira da minha vida. Não se tratava de um momento chato. Antes pelo contrário! Mas achei que devia aproveitar essa situação específica como motivo para mais um projecto e experimentar uma nova abordagem técnica, com o uso de uma câmara de baixa resolução do telemóvel.

Ás vezes fico surpreendido com o resultado que pode sair de limitações técnicas e pessoais. Deixei para trás a atitude de “coitado de mim, que não tenho tempo, vontade ou dinheiro para fotografar”. As limitações são muitas vezes as melhores oportunidades.

No final de uma sessão fotográfica como escolhe as fotografias que irão constar no seu portfolio?

Esse é para mim o exercício mais difícil. E o mais importante. Uma edição/escolha descuidada e mal pensada pode deitar tudo por terra. Estou numa altura em que prefiro deixar os rolos acabados de revelar esquecidas numa gaveta durante um tempo. O facto de ainda estar rendido ao médio formato analógico é uma grande vantagem nesse sentido. As coisas são lentas e obrigam-me a pensar. E não é propriamente barato.

Não tenho pressa. Não tenho ninguém à espera. Cada vez que revelo um rolo acabado de fotografar, não fico muito tempo a olhar para o resultado. Se o fizer mais tarde – dois meses, um ano depois – percebo melhor o que estava a fazer nessa altura. O sentido crítico é mais apurado e essa distância temporal pode fazer toda a diferença.

Mencione alguns fotógrafos que o inspiram e ao seu trabalho e diga-nos porquê.

São tantos. Aprendi tanto a olhar para as imagens deles. Alguns não foram fáceis de entender inicialmente. Também não forcei. Acabou por acontecer e acabaram por ser os mais marcantes.

Talvez os mais importantes para mim, até agora, tenham sido estes: Andreas Gursky, António Júlio Duarte, Bernd e Hilla Becher, Duarte Belo, Gabriele Basilico, Gregory Crewdson, Hiroshi Sugimoto, Jeff Wall, João Tabarra, Jorge Molder, Mark Power, Paul Graham, Paulo Catrica, Philip-Lorca diCorcia, Robert Adams, Sally Mann, Stephen Shore, Susan Lipper, Uta Barth, William Eggleston, Wolfgang Tillmans.

Faltam muitos. Vou descobrindo muitos mais. Há muita coisa nova e inesperada a acontecer no mundo da fotografia.

Mas raramente as inspirações nem provêm daí. Mais facilmente as arranjo na literatura ou na música.

Como é que a tecnologia digital mudou a maneira como vemos a fotografia como arte?

Ainda é talvez cedo para falar. Mas creio que o processo digital, principalmente o de impressão e tratamento, veio finalmente instituir a fotografia (também) como arte.

Agora todos somos fotógrafos. O excesso e a disponibilidade não chegaram só à informação escrita a circular; chegaram também à informação visual. E isso faz tudo andar muito mais rápido.

Será que daqui a uns tempos veremos o “salto” do analógico para o digital a parecer tão grande como o das pinturas rupestres para a pintura antiga?

jj José Carlos Duarte

Anúncios
06
Fev
08

Entrevista com Lionel Samain.

Lionel Samain é um fotógrafo francês, especializado em moda/beleza e retrato. Tem também realizado alguns vídeos para bandas.
É um fotógrafo com um estilo pessoal muito marcado, com uma estética muito lo-fi de onde resultam imagens com desfocagem muito marcada e uma luz um pouco ‘dura’. Mas as suas fotografias saiem do comum, são invulgares e todo o trabalho é coeso e tem um impacto visual forte, embora algumas imagens não consigam agarrar a atenção de imediato. No entanto a sua marca vincada acaba por se impor de uma maneira coerente e transmite a mensagem do fotógrafo na perfeição, quer se goste ou não do seu trabalho. Original, provocador, diferente.

Como começou a fotografar e porquê?

Comecei a fotografar quando encontrei a velha máquina do meu pai num armário. Na altura era completamente apaixonado por filmes. Olhei pelo visor e fiquei espantado: mostrava a vida do ponto de vista da parte de trás da minha cabeça.

Na sua opinião o que faz uma boa fotografia?

É como a caligrafia. A mensagem deve ser forte com um formato limpo.

O que que o leva a captar uma fotografia? O que é que precisa de ver no tema para premir o botão do obturador?

Quero sentir-me incomodado.

Tem alguma rotina para reunir as fotos para os seus projectos ou deixa-se levar pelos acontecimentos?

Eu preparo tudo, faço esboços e arranjo os acessórios. Mas julgo que uma fotografia pode ser resolvida quando tudo está pronto, coordenado e o azar mostra o seu nariz e engana todos.

No final de uma sessão fotográfica como escolhe as fotografias que irão constar no seu portfolio?

Tem que me surpreender. Às vezes passam-se meses depois da sessão fotográfica até conseguir ‘adoptar’ a fotografia.

Mencione alguns fotógrafos que o inspiram e ao seu trabalho e diga-nos porquê.

Tantas fontes de inspiração e nem todas são visíveis. A pintura. Velhas pinturas. Sons. A música , de certeza. Os vídeos do Anton Corbijn. O mestre: Guy Bourdin.

Como é que a tecnologia digital mudou a maneira como vemos a fotografia como arte?

Não sei. A estética não se refere a nenhum meio em particular. Assim a única evolução é que temos que olhar para mais e mais fotografias mais depressa.

Website: www.lionelsamain.com

ls
Les Petits Riens – Second hand – Second life ©Lionel Samain.

~Eng~

How did you started taking photographs and why?

I started taking pictures when I found my dad’s old camera in a locker. At that time I was very passionate about movies. So I looked through the rangefinder and was amazed: it was showing life from the point of view of the back of my head.

In your opinion, what makes a good photo?

It’s like caligraphs. The message should be strong with a clear form.

What makes you want to capture a photo? What you must see in a subject to make you release the shutter?

I want to be disturbed.

Do you have a routine to take the photos for your projects or you just let it happen and see where it takes you?

I prepare everything, drawing sketches and collecting props. But I guess, a picture can be solved when everything is ready, coordinated and when hazard can show its nose and fools the set.

At the end of a shooting session how do you choose the photos that are worth showing in your portfolio?

It has to surprise me. Sometimes, it takes months after the shooting before I can adopt the picture.

Name a few photographers that inspired you and your work and why they inspired you.

So many sources of inspiration but most aren’t visible. Painting. Old paintings. Sounds. Music, for sure. Anton Corbijn’s music videos. The master of everyone: Guy Bourdin.

How digital technology changed the way we look at photography as art?

Don’t know. Aesthetic do not refer specially to a particular medium. So the only evolution is that we have to look at more and more photographs faster and faster.

07
Dez
07

Interview with Andy Biggs.

Andy Biggs is a superb nature photographer. He lives in USA but works mostly in Tanzania so all the beautiful landscapes of Africa are just a few miles away and Andy manages to capture all the grandeur of Africa in his photographs with an exquisite composition and light. Andy Biggs’ photographs of Africa wildlife are nothing short of beautiful and touching, i love his photographs.

How did you started taking photographs and why?

I started capturing nature photographs in 2000 as a serious hobby, but had point and shoot cameras for family gatherings before that date.

In your opinion, what makes a good photo?

I think an image that captures the essence of the subject is a good place to start. Also, an image that engages the viewer. Almost like candy for the eyes.

What makes you want to capture a photo? What you must see in a subject to make you release the shutter?

I am looking to tell a story with a photograph. I want the image to have a sense of place in the world.

Do you have a routine to take the photos for your projects or you just let it happen and see where it takes you?

I definitely follow a path towards capturing my photographs. I rarely walk out and grab images, seeing what I will get. I have a large collection of images in my mind, and I try to visualize how those types of images can be captured, and then I set out to find and create those images from my mind.

At the end of a shooting session how do you choose the photos that are worth showing in your portfolio?

I need to feel that ‘wow’ factor. Something that makes the image or group of images stand out from the rest. It is not uncommon for me to spend many weeks out in the field, only to come home with 5 images or less that I am happy with.

Name a few photographers that inspired you and your work and why they inspired you.

Galen Rowell for his attraction to dynamic lighting and color, Ansel Adams for his control over the photographic process, and Eliot Porter for his pioneer spirit of color nature photography.

How digital technology changed the way we look at photography as art?

This is a tough question to answer. I think digital technology has changed the photographic landscape so quickly and so dramatically. The digital photographic process has brought so much control and power to more people than ever, and image making is a part of our modern culture. Cell phone cameras, small point and shoot cameras, all the way up to medium format digital cameras. All of them are changing the way we capture and share our images. I am glad to be a part of this paradigm shift, as I am embracing these technologies with my own photography. I use the internet to share my images with my safari customers, as I attempt to inspire people to come with me to photograph wild places in Africa and beyond.

Andy Biggs website.

andybiggs

23
Nov
07

Entrevista com João Leal.

João Leal é um jovem fotógrafo português, que conheci através da Lab.65, onde expôs este ano uma série de trabalhos bastante interessante e conceptual. Em 2005 ganhou (ex-aequo) o prémio Pedro Miguel Frade do Centro Português de Fotografia, onde amanhã, dia 24, inaugura uma exposição com trabalhos seus e onde estará às 15Hrs para falar sobre os mesmos.

Como começou a fotografar e porquê?

Comecei a fotografar com uma câmara de 35mm (Pentax K1000) que o meu pai tinha “encostada”. O que me levou a começar foi, em primeira instância, experimentar o processo, depois disso, surgiu o gozo pela autonomia do processo.

Na sua opinião o que faz uma boa fotografia?

Na minha opinião não há “uma” boa fotografia. “Uma” boa fotografia pode ser fruto do acaso. Há bons trabalhos. E um bom trabalho é sempre um equilíbrio entre aspectos formais e conceptuais, devidamente enquadrados no percurso do autor.

O que o leva a captar uma fotografia? O que é que precisa de ver no tema para premir o botão do obturador?

No que diz respeito ao meu trabalho de autor, são as imagens mentais que me levam a fotografar. Imagens que formo previamente.

Tem alguma rotina para reunir as fotos para os seus projectos ou deixa-se levar pelos acontecimentos?

Não tenho nenhuma rotina especial. Depois de saber o que pretendo, procuro coordenar os factores que me interessam para produzir as imagens. Não são os acontecimentos que me movem…

No final de uma sessão fotográfica como escolhe as fotografias que irão constar no seu portfolio?

Ao fotografar faço sempre um “bracketing” de exposição (duas ou três imagens) para cada imagem que pretendo. A escolha recai sempre sobre a imagem melhor exposta.

Mencione alguns fotógrafos que o inspiram e ao seu trabalho e diga-nos porquê.

São vários os trabalhos de que gosto. Como facilmente me esqueço de nomes, refiro dois de que me lembro: Hiroshi Sugimoto, Jeff Wall e José Luís Neto. Há, no entanto, vários trabalhos que admiro. As razões pelas quais gosto destes (e de outros) fotógrafos prendem-se com as temáticas desenvolvidas e pela forma, por eles escolhida, para as desenvolverem.

Como é que a tecnologia digital mudou a maneira como vemos a fotografia como arte?

Aumentou as possibilidades, facilitou os processos e democratizou (ainda mais!!) o meio. Não me parece que a tecnologia seja um factor preponderante no que diz respeito à mudança na maneira como se vê a fotografia como arte. Penso também que a arte (como forma de expressão, entenda-se) não está no meio de expressão utilizado.

second-11

08
Nov
07

Interview with Christine Rodin.

Christine Rodin is a superb fine art photographer, the vintage look and feel of her photographs are stunning maybe due to the fact that Christine still uses film and darkroom techniques. She shoots in color and black&white and in a variety of styles, always with a sense of something handmade and handcrafted. I just fancy her ‘Shells’ series, so wonderful and you just can feel the voluptuous shapes of the shells portrayed, an organic feeling only obtainable with film, digital just can’t achieve this kind of emotional impact, it lacks the third-dimensional look of film.
Today Christine will open an exhibition and will guest a reception at the Penine Hart antiques and art in New York. If you happen to be in the Big Apple don’t miss it.

How did you started taking photographs and why?

I started out working in films and then drifted to photography because it was more creative.

In your opinion, what makes a good photo?

That is a good question–for me it needs to have some kind of timelessness and honesty.

What makes you want to capture a photo? What you must see in a subject to make you release the shutter?

That is probably an indescribable thing. I usually have to have some kind of visceral reaction to a person or place or object. Then I want to “own” it somehow.

Do you have a routine to take the photos for your projects or you just let it happen and see where it takes you?

I don’t have a routine. Everything I shoot, unless it is a commission, has to be something I mull over for a while. Then I start to plan technically how to do it. This takes some time. I am not a fast or prolific photographer. I do shoot different things in different seasons though. Black and white still life and portraits are shot in Winter and landscape/cloud photographs are shot in summer.

At the end of a shooting session how do you choose the photos that are worth showing in your portfolio?

Again, that is just instinct. In the case of black and white I scan negatives and make little digital prints to study. Same with my color landscapes. Then you need to step away from them to get to your true feelings because something you just shot always looks beautiful and may not stand the test of time.
I don’t know whether there are standard criteria. I see many photographs that are in galleries that sell for a lot of money that leave me feeling nothing. I think something that looks sincerely thought out, has good composition and some color sense or tactile quality can stand out. I also try to think if I could live with it hanging on my apartment wall.

Name a few photographers that inspired you and your work and why they inspired you.

I love Julia Margaret Cameron, the Victorian photographer. Her portraits are ethereal. I sepia-tone all of my black and white. Bill Brant did mysterious and moody photos. I love anything that has some kind of emotional feeling to it. I love Walker Evans for his simple and direct style and he told a lot about a place or a person. There is also an emotional quality even in the buildings. He told a story very simply.

How digital technology changed the way we look at photography as art?

I am not yet a fan of digital photography. All I can see so far is that digital photography is a very convenient way to shoot fashion or advertisements. I still use film and my art is done with alternative cameras. I know I am very old fashioned but the digital work I see leaves me a little cold.

Christine Rodin website.

crRomance © Christine Rodin.

26
Out
07

Short interview with Brian Ulrich.

Brian Ulrich was born in 1971, his work ‘Copia’ portrays the retail and thrift stores that you can find everywhere in the United States. Brian Ulrich was one of the PDN 30 emerging photographers of 2007 and in 2004 Aperture published ‘Copia’ as part of the MP3: Midwest Photographers Project. He lives in Chicago and teaches at the School of the Art Institute of Chicago and Columbia College.

In your opinion, what makes a good photo?

To apply a formula to something that like creativity is an ambitious and interesting endeavor but certainly one that could threaten the creative process. I think it difficult to say what makes a ‘great photo’. I remember Saul Leiter telling me ‘if you could make one really great photograph a year, in fifteen years you would have 15 really great photographs’. It’s a humbling and daunting charade but well worth it.

What makes you want to capture a photo? What you must see in a subject to make you release the shutter?

Taking my photographs is often much like the experience of shopping itself. There is so much visual stimuli in these spaces, to sort that out and keep in mind a concept or idea can be overwhelming. I’m simply ‘shopping’ for pictures. Many factors decide where and when. In the large big box retail stores, I’m almost always doing things candid, so foremost I look for a place where I sit or stand for a bit of time, as well as one that has an interesting backdrop and decent lighting. From there it’s simply whoever walks into that space. I’m shooting film and all handheld, so for pictures with people they have to pause, hold still, have no one walk in the way, etc… and of course have a specific expression I’m looking for, one where we ourselves can easily imagine getting inside the subjects’ heads.

Name a few photographers that inspired you and your work and why they inspired you.

Walker Evans’ Penny Picture Display in Savannah, GA is a photograph that sticks in my head and has taught me many things about how powerful photographs can be. Looking at Evans picture of pictures done in 1936, it’s easy to marvel at how over time this image has gained more power historically. It would be easy to say the image pre-dates thoughts on post-modern discourse, typologies and social criticism. The real intrigue for me is how the photograph functions. Evans cropping, not of the negative, but of the world itself makes for an ambiguity that feeds a mystery over what it is indeed before us. A large text ‘S T U D I O’ runs across the foreground of the picture and it’s backdrop; small tiny sized portraits all formally the same.
It’s the fact that Evans gives us nothing else but this to look at here. The viewer has no ground, no reference and no other information to make conclusions about what is going on in the picture and why. With so little clear information as to what I am supposed to understand about this image, I keep reinvesting in it to find out why. Perhaps the clue is in one of those portraits or the way the text sits over the images. Who are these people? Why just the word studio? I am left with so many questions that I return to reconcile my investment and my peace of mind. Evans cleverness is that we never reconcile this image we just keep enjoying the mystery.
Mark Steinmetz once commented to me that Evans ‘hit the photographic jackpot every time he went out to make photographs’. He’s right. We’ve all been trying to continue his investigations and there is still so much to be done.

Brian Ulrich website.

12
Out
07

Interview with Jeff Brouws.

Born in 1955, Jeff Brouws has had a long and successful career, with several books published and a body of work that is represented in several collections and museums. In his photographs one can find the great american unknown, the large highways, the freshly painted houses, those subjects we use and see everyday but don’t catch our attention just for that same reason we like to see them in his photographs: they are just too familiar and when Jeff Brouws just takes them out of their familiarity and out of their original context, the subjects look unusual in a strange but comfortable way.

Without a doubt, Jeff Brouws is a great photographer, one of the best contemporary photographers out there, and his photography touches us in a unique way; those empty spaces, freed of people, suddenly full of meanings and silence, are they just a reflection of our lives? I don´t know…but you can always feel a human presence like in a ghost place, a presence of someone, a life that was lived or a road that was traveled and you want to know who, why and where, just like a good photograph should be: posing questions and not giving the answers back.

So let’s hear Jeff Brouws:

How did you start taking photographs and why?

I started at the age of thirteen, and initially my attraction was to trains and railroading. On a psychological level something else must have been going on too: my mother was going blind. I’ve often wondered if me picking up the camera was a child-like response to her loss of vision?

In your opinion, what makes a good photo?

I think the best photographs are a balance between information and aesthetics. This was a notion put forth by Garry Winogrand. If you have too much information the picture is merely documentation; if it relies too much on the aesthetics side, it simply becomes a graphic composition, without making reference to the world. I want my pictures to be about something, to be a part of the world we inhabit.

What makes you want to take a photo? What must you see in a subject to make you release the shutter?

This is harder to answer. It’s very intuitive. I might drive by a location that looks promising, especially if the light is the kind I prefer (stormy, overcast, gray and flat). I sense something and begin working, Ten years ago I sometimes only made 1-2 frames of any such scene. I tend to shoot more now in any one location and edit the results after seeing the contacts. Since my subject matter is always changing, there isn’t any one type of subject that causes me to stop the car. Again twenty years ago when I started my HIGHWAY project I had definite subjects that drew me—older elements of American roadside culture. Now it’s contemporary elements of that same consumer / car culture plus inner city America (sometimes reading about subjects I’m interested in helps me conceptualize the photography I want to do, so this process is not always visual, sometimes it’s intellectual).

Do you have a routine to take the photos for your projects or you just let it happen and see where it takes you?

It’s a combination of things. After 1986, when I began hanging out with other artists who had academic art-school training, it became apparent to me that they were working in “series.” They had an idea and would elaborate on that idea, or make variations on that idea. Prior to this I had a very scattered approach, and really wasn’t terribly sophisticated, grappling to figure out how to proceed as “a photographer.” When I stumbled upon the revelation that I should work in series as well an “a-ha!” moment occurred (this seems to be such an apparent methodology but I was really quite naive). It thus became very liberating to focus on one particular subject for awhile. My carnival series was the result of this intentional direction.
I subsequently also started a Highway series (which resulted in the book HIGHWAY: AMERICA’S ENDLESS DREAM, 1997) and also began another series about nuclear weapons, which hasn’t been published as of yet. I worked on these series simultaneously. I still tend to work on three or four projects at once and simply allow the editing process, over time, to shake out the images that seem to go together. In the work I’ve been doing over the last ten years (since moving to the eastern United States) I’ve simply shot what interested me and allowed my contact sheets to be the “tell” as to my direction. About three years ago I read a very important essay called “What We Think About When We Talk About Landscapes” in a cultural geography book I had purchased and it completely solidified what I was up to these past 8-10 years. It helped me discover a “reason” for being out there taking photographs. As a photographer matures you eventually get to this spot: just making aesthetically-pleasing images doesn’t cut it, you want meaning behind what you’re doing.
Over the last ten years I’ve developed the idea of photography as visual anthropology, which has also been a notion that has helped direct my work.

At the end of a shooting session how do you choose the photos that are worth showing in your portfolio?

When I return from a trip there are usually a few pictures that get scanned and printed immediately, but generally I let photos sit in my file for one to two years before pulling them out again for analysis. I like the idea of shooting, creating a backlog, and then when the urge to do a book or an exhibition hits, you do an edit that refines the ideas you’ve been working with. Lee Friedlander had a great suggestion he gave to students he periodically worked with. He told them to have individual 11 x 14 boxes for each project they were working on. So let’s say you come back from a trip, and you’ve got three pictures for project A, 4 for project B, 6 for project C. After 5 years of doing this type of activity you go to any individual box and you probably have 30-40 pictures in each series ready to go. While I admire very project-driven photographers, who get in and get out in a short time span when doing their work, I personally need to take more time for it all to make sense to me.

Name a few photographers that inspired you and your work and why they inspired you.

The list is endless; there are and have been a lot of great image-makers out there. Lewis Baltz, Robert Adams, Richard Misrach, Lee Friedlander, Paul Graham, Todd Hido, William Eggleston, Stephen Shore, William Christenberry and Richard Steinheimer to name a few. I like a lot of the Europeans, too, like the Bechers. Ed Ruscha (while not technically considered a photographer) has also been a significant influence. I think it fair to say his early books of photographs (Some Real Estate Opportunities and Twentysix Gasoline Stations) might have been the impetus behind the whole New Topographics movement.
And why have they inspired me? For myriad reasons: their work had a subtle political tinge, some of it was visually very tough and not traditionally considered beautiful, they all seemed extremely dedicated to their work, some dealt with aesthetic issues in very interesting ways, or I liked the subject matter they photographed and felt a kinship to that. Some embraced the mundane and declared art could be made from it.

How digital technology changed the way we look at photography as art?

I think this is a question where the answers are still being formulated. The digital revolution has significantly furthered the democratization of photography as an art form, just as George Eastman’s introduction of dry film and small, affordable cameras did in the late 1880s. All of a sudden everybody could do a craft that only a handful of individuals had mastered. Photography became easier and wasn’t such a cumbersome and time-consuming process. No more coating wet-plates and processing them in the field, which took real dedication and determination. You could send it all back to Kodak or eventually take it to the corner drugstore for processing. Today, further barriers have fallen in terms of craft. No need to know about the mechanics of photography (f-stops, shutter speeds and proper exposures), no time lag between taking the pictures and seeing the results, no need to know special techniques if you shoot in low-light, or something other than daylight (digital cameras correct for fluorescent lighting for instance). On one hand this is probably all good: the photographer can merely focus on aesthetic issues without worrying about technical aspects. But I worry that perhaps the ease with which it can all occur now might not create a lot of superficial work. I think the world is flooded with too many images, and this latest development may make it more difficult to sift out important work an audience needs to see. Admittedly, I’m a bit old school and probably secretly envious of how easy it now all is. I should qualify this comment though: at this time I still shoot film but scan my negs that are printed on archival pigment printers…so half my process is digital. It’s made making work a lot easier, which I’m grateful for.

Jeff Brouws website.
Jeff Brouws’ books on Amazon.com.

erieExit 24 off I-90, near Erie, Pennsylvania (2005) ©Jeff Brouws.




mário venda nova

contactos:

tlm 965 275 830

skype: elogiodasombra

"eu não quero saber se sou o primeiro a dar a notícia, só me preocupo em ter a informação correcta e fazê-lo bem. Essa é uma pressão diária."

larry king

trabalhos pessoais


mariovendanova.com
[este é o meu sítio pessoal onde estão os meus projectos já consolidados e acabados]

in every kind of light
[aqui estão os rascunhos dos meus projectos correntes e inacabados]

publicação de fotos

todas as fotografias pertencem aos respectivos autores assinalados e são publicadas apenas no estrito interesse do comentário e crítica sobre fotografia.

recursos


Loja 'o elogio' na Amazon
[larga variedade de livros de e sobre fotografia. se comprar via este link recebo uma pequena percentagem.]

Loja 'o elogio' na Amazon.com (EUA)
[igual ao link acima mas para a loja da Amazon EUA, de todas as compras continuo a receber uma pequena percentagem.]

Monochrom
[loja boutique, com artigos que não se encontram noutras lojas. os pápeis de impressão fine-art são bons.]

arquivo

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