Sobre muros, cercas, mexicanos, norte-americanos e seres humanos.
The secret, and the secrets, of the great masters.
“I used to think that street photography was all about getting that one good shot, and getting a lot of “likes” on social media.
Street photography is about cleansing and easing your mind. Street photography is about enjoying your walks (slowly) with your camera in your hand. Street photography is all about finding the beauty in the natural world. Street photography is about the common, plain, and rugged.”
I think we can do a better job with photoshop… ;)
“This, of course, is the great power of photo-journalism; it serves first and foremost as a tool to create empathy in its viewer. Where the reported actions of a group, however well-intentioned, can quickly spiral into discord in newspaper reports, a photograph of one person reminds onlookers of their own compassion and clemency. What’s more, when it comes to protests, photographs printed in magazines and newspapers are fundamental to their political success – without some record or physical proof for the archive, mass uprisings can be quieted and the movement they represent remain impotent”https://www.magnumphotos.com/theory-and-practice/magnum-photographers-on-protest-photography/
I would never dare to deny the fact that Cartier-Bresson is indisputably the greatest master of the twentieth century photography. There is no other like him. Capa, however, is my favorite artisan of this medium. His work doesn’t have, and this is also a fact, the refinement of Cartier-Bresson. His images are almost brutalist.
This is especially true in his work during the Spanish Civil War. However in each one of his photos is possible to notice that there’s no voyeur behind the lens in search of the suffering of others to sell “reality”, but a committed anti-fascist. For that, Capa’s photography is one of the few with the ability to remember us of what is worth to fight for.
Eu nunca me atreveria a negar o fato de que Cartier-Bresson é, indiscutivelmente, o maior mestre da fotografia do século XX. Não há outro como ele. Capa, no entanto, é o meu artesão favorito deste meio. Seu trabalho não tem, e isso é também fato, o refinamento de Cartier-Bresson. Suas imagens são quase brutalistas.
Isto é especialmente verdadeiro em seu trabalho durante a Guerra Civil Espanhola. No entanto, em cada uma de suas fotos é possível perceber que não há nenhum voyeur atrás da lente, em busca do sofrimento dos outros para vender a “realidade”, mas um comprometido anti-fascista. Graças a isso, a fotografia de Capa é um das poucas com a capacidade de lembrar-nos do que vale a pena lutar.
Born in Switzerland in 1855, Otto Pfenninger moved to England in the 1880s, where he became a pioneer in the emerging field of color photography.
In 1905, he designed and built a unique camera which used three color-separated plates to capture a full-color image in a single exposure.
The following summer, he tested his new contraption on the sunny beaches and parks of Brighton, rendering leisurely and candid scenes in vivid (if somewhat warped) color.
“a certain picture by Mapplethorpe led me to think I had found “my” photographer; but I hadn’t –I don’t like all of Mapplethorpe. Hence I could not accede to that notion which is so convenient when we want to talk history, culture, aesthetics –that notion known as an artist’s style. I felt, by the strength of my “investments,” their disorder, their caprice, their enigma, that Photography is an uncertain art, as would be (were one to attempt to establish such a thing) a science of desirable or detestable bodies.“ BARTHES, Roland. "Camera Lucida”.
Do you know those fishermen that Steve McCurry made famous? Today they only pose for tourist photos. In Wadduwa they fish this way.
Nawam Maha Perahera, 2016.
Procissão budista em Colombo organizada pelo Templo Gagaramaya, desde 1979, por ocasião do Poya Day de fevereiro.
A great photographer