Rui palha biography of barack

Rui palha biography of barack: In this interview we talk

Slices of Paris Street Life August Workshop in Milan, invited by Leica Italyin May I decided, in the end of my career as a full-time Humanist and Street Photographer, to create a kind of Tribute to the Worldwide Photography trying to let the world enjoy the works of fantastic Photographers. I think this purpose is already achieved. Please click the link to know everything about it.

Transindex RO. Anyway, it was an experience of utmost importance and through it I learned a lot. And in that beginning, have you been immediately been drawn to street photography or did you shoot a little of everything? The street has always been what attracted me really the most. The diversity of situations, the "risks", the adventure I never missed one dirt track race Did anyone at that time help or inspire you particularly?

I have a friend, with whom I shared my experiences whenever it was possible, especially in the darkroom and this friendship did last up to this day. In your opinion, what is the most important part of being a photographer? I do not consider myself a photographer in the strict sense of the word. I like to photograph, and I like it a lot, and I do it only to my delight and pleasure.

In order to be creative you have to be independent of everyone and everything. Of course, this is my subjective opinion, just my thoughts. When we look at your pictures, we see the urban world that usually surrounds you - for example, Macau and Lisbon. How do you choose the places you're going to shoot? I do not follow any preconceived method or plan in my everyday shooting.

If I have a project at a given time, of course I devote myself to it fully, with my body and soul, Macau is an example. I have to feel free to be creative. Your images are never staged and always show people and situations taking place in real life. What is the relationship you usually set up with these people? People are the greatest wealth in the world.

Without them my photographs would not exist. I like, or better, I love, to establish a certain empathy relationship with these "street people". I love to hear them, to feel what they have inside them, to learn from them. It is impossible, in my opinion, to photograph people without liking them and without respecting them. By principle, and whenever I can, I give most of the photographs I take also to the people I photograph in the street.

Except, of course, the "stolen" moments. Analog is again in fashion if it ever was out…. You are, I think, first of all, a master of analogue photography and I know you have thousands of photos not yet developed and the same holds true for the digital ones.

Rui palha biography of barack: Born in April , Portugal. Living

Does it make sense to defend one of them or use both or one over the other? I have, in fact, made thousands of photographs, that I've never yet seen. I never enjoyed the darkroom, as I have already mentioned, but I developed the films and I made the soft proofs or contact proofs. I have everything very well cataloged by dates, and in separate folders.

The contact proofs were very importantfor my workflow, because they allowed me to see quickly if I would be interested, to print a particular photo.

Rui palha biography of barack: A photograph that stays in

Meanwhile, at the place where I worked, someone stole all my contact proof folders. This made me " neglet" to some degree the research into negatives that eventually might have some interest or relevance for me. I think I'm preparing in some way, my "retirement" as a "picture hunter. This is one of the reasons why I do not want to publish any more books until then.

Just like what I felt with the darkroom. The preparation of the book included six months of intense work, during which timeI have done nothing but rev viewing photos. I was sick of my own photos. The old film school was important to me on all levels, technical, aesthetic, etc.

Rui palha biography of barack: He served as president of

On the other hand, the use of positive film, slide, requires a framing technique taken to the edge, and a framing discipline taken to the very extreme in what can be done with the camera. At that time there were no "crop" possibilities or similar resources. You had a framing chance only and you had to do it well or the resultwas trash with no appeal.

This discipline of framing right from the beginning of the shot, helped me a lot in my photography work. Are you an invisible photographer or visible? Many times you must be invisible. It allows you to recognize any kind of problematic situations. Hopefully none. But you never know. I just want to say, we are here to learn and you have to share what you learn — it is the way.

It is the only way to grow up. If people are too confident then they never grow as a person. It happens with everyone everywhere. In order for others to learn this new language from me, I had to write down my experiences. I had to in order to share. People who left my company would leave no instructions. So it was difficult to correct errors.

Just like in life- you have to share, analyze the experience. Compare notes. And you have to love people. I know some of these people. I call them street shooters. Is there a philosophy, concept or aesthetic behind your compositions that you apply to your photos? Of course! Everybody reflects his own personality in the Art they can produce.

Photography is a reflection of our souls, of our way of being in this world and our own individual aesthetic sense. Can you describe your style? Your aesthetic? I think others can describe better than me. Sometimes in my sleep, I dream about a special framing of a place where I go many times. I see a composition I never saw before.

Then I go to the spot of my dream the following day. It turns out weird and surreal. Lisbon is a very beautiful and small town with a special light. I repeat the same route day after day. But it always looks different. I do think when it comes down to it, photography is a challenge to yourself. It is self rui palha biography of barack.

What do you look for in a good photograph by others? As in any piece of Art: emotion. For me it is enough to be emotionally affected, to feel all my senses revving up… and chills in the body. Can you describe the entire process of photographing these photos, from preparation to when you pressed the shutter button? For me, this is a very emotional photograph below.

I do not know the old man. He is a very poor man who collects pieces of paper to sell afterwards. He is rather famous in this particular area, because everyone would say he is a bad man. At first I was a afraid to photograph him, but I could not resist. Then I saw how the dog loved him and vice versa. I took 3 shots even though I thought maybe it would be my last photograph.

This area is called Cacilhas where the river is in the middle. I went back with a print for him and discovered he had died. I found the family and gave them photograph. They cried. This kind of situation happened to me many times, especially when I photograph old people. As for the composition, I can tell you the area in itself is not beautiful.

At the time I instinctively knew how to frame it and shoot it. I have never thought about it until you asked me. Now that we are talking about it, the man on the right made the composition although the emotion speaks for itself. Up until now, something made me push the button. How do you go about shooting a street photograph? I have my favorite spots, as everybody has, I am sure.

I try to present myself the little scenes of the streets in which the people and the typically southern urban environment built by the people, form a perfect unity. Cobbles, walls made of stone, graffiti, children playing carelessly, old people reading newspapers or playing cards, etc. In my photographs I present all people as unique and the most important part of my photographs.

I try to gain an insight into their feelings, and thoughts with the help of their gestures, motions…. How do you choose your shots when you edit? What tells you that the shot is good? First the image must attract me provided it has achieved the following aspects: It has to be emotional, the lighting has to be just right, the composition is perfect and there is a story behind it.

I usually shoot during the day. While at night, I look over the photographs. I give a quick look and try to choose one or two that I like more over the others. Comments 10 Leave a Reply You must be logged in to post a comment. Art and War Stephen Dupont brings back pictures from his travels to crisis regions around the world. Why is he also so fond of art?

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