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INTERVIEW WITH… Hiroyuki NakadaINTERVISTA CON… Hiroyuki Nakada

Researched by  Amos Farnitano

Hiroyuki Nakada

My name is Hiroyuki Nakada, Japanese. 
I have lived in Shanghai, China since 1999.
My liking for photographing is to take real figures of “living objects” on streets with my camera.
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When did you start a passion for the photography?

It was 2008 when I began photographing earnestly as one of the ways to express myself.

What was your first camera?
 It was Ricoh GR digitalⅡ. This is a fantastic camera with a 28mm fixed focal length lens.

It is still alive and working well now.

What is photography to you? And what should not be instead?
It is one of the ways to fulfil my desire; not more, not less. 
If you ask me, it’s only the expression of my curiosity. 

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Which masters of photography inspires you?
I was very much impressed by Shigeo Gocho’s photographs collection book “SELF AND OTHERS”. 
His articles were not about street photos, but I was and, still now, am attracted very much by his creative spirituality; his photos never leave my mind. 
The fine sense of distance between the photographer (he) and object persons makes everyone, who sees the photos, has a very strange feeling. 
I cannot give any commonplace explanation. This book is the one which I really want to be always with.
What is the photo that struck you the most of a great photographer of the story?
I learned much from Daido Moriyama for “Technique of making work”. For example, “Shinjuku” photographs collection. 
He is a really living photograph philosophy. 
The greatest thing that I learned from him is “To be always at spots (fields)”; walking around streets by all means and taking as many photos as possible. 
This is the very essence for taking street photos. 
If you ask me, you don’t have to buy an expensive single lens reflex camera, which fact would be soon and well understood by those who will  begin street photographing. A black small palmtop size camera is enough. 
The faster the autofocus speed, the better the result.
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What is your favorite technique?

What I am always technically aiming at is to get nearer to object persons (even as near as 30 cm) and release the shutter. 
This is not a technique; I myself think it is ridiculous.
Every time I take a photo, I want time stops with my will: only one second in exchange of my life.
In conclusion, I think no technique is necessary for street photo. 
The belief that “I catch him in my camera by all means” is everything.
Why do street photography?
Street is “a sea for curiosity” for me. 
Therefore, there would be no space that changes so much other than that. 
It may be a dirty saying, but it is just like ” honey pot”. 
Every day, coming every day and every day, I released my own street of “My inherent desire”. 
This kind of desire continues to accumulate in my heart, so I would become mad if I don’t get it released.
What is your best shot and what does it represent for you?
It is fantastic when I can” copy” the real image of an object as I wish. 
Just when I see an object, my image is created as to what kind of photo I would really like. 

The only thing I have to do is to release the shutter without hand trembling.

What is your relationship with the street and the people who are in your shots?
It’s like a relationship between a photographer and an ”ornament”. I may be saying something wrong, but objects are all Venus de Milo for me, and I am sketching them. Such is our relationships. 

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Hiroyuki.Nakada (8)You take photos into the streets, how react the subjects of your shots? Are nervous, they are complicit or indifferent??

Even when I stand in front of object persons, they are not aware of me. 
Still more, they even do not think they are going to be photographed. 
Sometimes they become aware; then I fade away or run away from the spot. 
I seldom ask them for permission to take their photographs. 
When you take a photograph after getting a permission on street, it is only a commemorative picture. You see?
 
Here is my bird cage:
Thank You Mr. Hiroyuki Nakada

 

Intervista di  Amos Farnitano

Hiroyuki Nakada

Il mio nome è Hiroyuki Nakada , sono giapponese.
Ho vissuto a Shanghai  in Cina dal 1999. Attraverso la mia macchina fotografica cerco di cogliere i dati reali degli “elementi umani” sulle strade

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Quando hai iniziato una passione per la fotografia?

Era il 2008, quando ho iniziato a fotografare seriamente facendolo diventare uno dei modi per esprimere me stesso

Qual è stata la tua prima macchina fotografica?

 Una  Ricoh GR Ⅱ digitale, una fantastica fotocamera con un obiettivo a focale fissa 28 millimetri .

E’ ancora in ottimo stato e funzionante.


Che cosa è per te la fotografia ? E ciò che non dovrebbe essere invece?
E ‘uno dei modi per soddisfare il mio desiderio ; non di più, non di meno. Se mi chiedete posso rispondere che  è solo l’espressione della mia curiosità .

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A quali maestri della fotografia ti sei ispirato?
Sono stato molto impressionato dalla Shigeo Gocho una collezione di fotografie raccolte in un  libro. I suoi articoli non riguardavano solo la  fotografia  di strada , ed io sono stato attratto,  e lo sono ancora oggi ,  dalla sua spiritualità creativa; le foto raccolte li sono sempre nella mia mente. Non voglio darne alcuna spiegazione banale, ma solo dire che questo libro rappresenta quello che voglio ed è sempre con me.
Qual è la foto di un grande fotografo della storia che più ti ha colpito?
Ho imparato molto da Daido Moriyama per ” la tecnica ” in ” Shinjuku ” una raccolta di fotografie.La fotografia è veramente una filosofia di vita.La cosa più importante che ho imparato da lui è “Essere sempre in campo ” ; passeggiare per le strade con tutti i mezzi e prendendo tutte le foto possibili .Questa è l’ essenza stessa per scattare foto di strada.
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Qual è la tua tecnica preferita?

Avvicinarsi ad oggetto/ persona, anche ad una distanza di  30 cm, e rilasciare il pulsante di scatto non è una tecnica. Anzi trovo questo abbastanza ridicolo.

Ogni volta che devo scattare una foto , voglio che il tempo si fermi con la mia volontà : solo un secondo in cambio della mia vita .

Se mi chiedete , non è necessario acquistare una fotocamera reflex a lente singola costosa , ma basta anche una fotocamera in bianco e  nero di piccola dimensione palmtop.

Maggiore è la velocità autofocus , migliore è il risultato .

In conclusione , penso che nessuna tecnica è necessaria per la fotografia di strada .

Perché proprio la  street photography?
La Street per me è ” un mare di curiosità ” .La strada è uno spazio che cambia continuamente , sempre molto diverso ciò che puoi cogliere.La strada è come un  ” vaso di miele ” .Giorno dopo giorno ho interpretato la mia strada attraverso” Il mio desiderio intrinseco ” .Questo tipo di desiderio continua a riempire il mio cuore , ed io dibventerei pazzo se non riuscissi a comunicarlo agli altri.

Qual è il tuo colpo migliore e cosa rappresenta per te?
E ‘ fantastico quando posso ” copiare ” la vera immagine di un oggetto come vorrei .Proprio quando vedo un oggetto, l’immagine che cerco di rappresentare e proprio come è l’oggetto.L’unica cosa che devo fare è quello di rilasciare l’otturatore senza mano tremante.

Qual è il tuo rapporto con la strada e le persone che sono nei tuoi scatti?
E ‘come una relazione tra un fotografo e un ” ornamento “.  Qualcuno potrà dirmi che sbaglio , ma gli oggetti sono tutti come la Venere di Milo per me. Questo è il mio rapporto con ciò che fotografo.

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Hiroyuki.Nakada (8)Quando  scatti foto in piazza come reagiscono i soggetti dei tuoi scatti ? Sono nervosi , sono complici o indifferenti?

Anche quando mi trovo di fronte ai soggetti loro non si accorgono di me e ancor più , non sanno che stanno per essere fotografati.

A volte diventano consapevoli ; poi svaniscono.

Raramente ho chiesto loro il permesso di far loro delle fotografie .

Quando si scatta una fotografia sulla strada, dopo aver ottenuto un permesso , è solo una foto commemorativa di un evento.

 

Ecco la mia gabbia per uccelli :

http://www.flickr.com/photos/shuttermaniacs/

https://www.facebook.com/shuttermaniacs

Grazie Mr. Hiroyuki Nakada

Robert Capa: The Definitive Collection Robert Capa: The Definitive Collection

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This is the first book to reproduce the definitive set of 937 rarely seen and classic images by Robert Capa (1913-54), one of the most influential documentary photographers of the twentieth century. Capa, a founding member of Magnum photographic agency, had the mind of a passionate and committed journalist and the eye of an artist. His lifework, consisting of more than 70,000 negatives, constitutes an unparalleled documentation of a crucial 22-year period (1932-54), encompassing some of the most catastrophic and dramatic events of the last century. This book represents the most definitive selection of Capa’s work ever published – 937 photographs meticulously selected by his brother Cornell Capa (himself a noted Life photographer), and his biographer, Richard Whelan. The photographs, arranged in chronological order as stories and accompanied by brief commentaries, reveal the dramatic shifts in location and subject matter that Capa experienced from day to day – from war-torn Israel to Pablo Picasso on a sunny beach in France, and from Ernest Hemingway carousing in London to Capa’s historic images of the Allied landing on Omaha Beach in Normandy in 1944.

Product details
Paperback: 572 pages
Publisher: Phaidon Press Ltd (14 Oct 2004)
Language: English
ISBN-10: 0714844497
ISBN-13: 978-0714844497
Product Dimensions: 25.3 x 25.1 x 4.4 cm

INTERVIEW WITH… Roberto RamirezINTERVISTA CON… Roberto Ramirez

Researched by Raffaele Montepaone e Fabrizio Pannone

ROBERTO RAMIREZ

I was born in Guayaquivil (Ecuador) in 1984 but I have been living in Italy for 10 years. I approached photography only a couple of years ago and I was almost immediately fascinated by this art. I’m keen on street photography and reportage photography. The main subject of my pictures is the city of Milan, whose identity usually borders on stereotypes as the capital of fashion and economy. On the contrary its urban pattern has deeply been changing and exploring its streets, a curious passer-by can discover a lively, multiethnic and cultural city. With my pictures taken crossing its neighborhoods, I have tried to capture people of Milan: their gestures, faces, diverse aspects and features, the ways they interact and use the public spaces. Every single situation is useful and important to me to fix ordinary life. I prefer black&white images since the observer can be guided to focus on what I want to express.

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When did you start a passion for the photography?

I seriously approached photography 3 years ago when my little daughter was born. It was a choice made by both curiosity and personal feelings.

What was your first camera?

My first camera was Canon 500d but soon after I bought Fujifilm x100, which has helped me to achieve and get better my personal style.

What is photography to you? And what should not be instead?

Photography is a tool to fix unique moments. Therefore, it should be a matter of freedom, instinct, intuition, sensitiveness and naturalness. The attempt to trap photography and establish strict rules breaks the possibility to catch the fluidity of life with its gestures, emotions and diversity.

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Which masters of photography inspires you?

I get constant inspiration from William Klein’s work as he is able to capture the dynamism of life, using an interesting and original perspective and filling up the frame with the presence of various characters. I also like Leonard Freed due to his attachment to reality and Alex Webb who manages to control an incredible set of elements in one picture.

What is the photo that struck you the most of a great photographer of the story?

I can’t choose only one photo. I admire William Klein’s portfolios about New York City and Rome.

What is your favorite technique?

I prefer to get into the situations, observe and be patient, so I adopt a close point of view.

Why do street photography?

Because my objective is to document everyday life and human nature. As Joel Meyerowit says “street photography was the only form of the medium that owed nothing to painting or the other plastic arts, it is purely photographic.”

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What is your best shot and what does it represent for you?

My best shot is something very personal that I have never showed to anyone. The image is hung on the wall. It regards my daughter.

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What is your relationship with the street and the people who are in your shots?

There’s no direct relationship between me and the street and its inhabitants, as I try to camouflage, to be invisible, to enter reality without corrupting the spontaneity of moments.***Researched by Raffaele Montepaone e Fabrizio Pannone

ROBERTO RAMIREZ

I was born in Guayaquivil (Ecuador) in 1984 but I have been living in Italy for 10 years. I approached photography only a couple of years ago and I was almost immediately fascinated by this art. I’m keen on street photography and reportage photography. The main subject of my pictures is the city of Milan, whose identity usually borders on stereotypes as the capital of fashion and economy. On the contrary its urban pattern has deeply been changing and exploring its streets, a curious passer-by can discover a lively, multiethnic and cultural city. With my pictures taken crossing its neighborhoods, I have tried to capture people of Milan: their gestures, faces, diverse aspects and features, the ways they interact and use the public spaces. Every single situation is useful and important to me to fix ordinary life. I prefer black&white images since the observer can be guided to focus on what I want to express.

1499523_624996874220382_1245462658_n

1959702_624996907553712_432281570_n

When did you start a passion for the photography?

I seriously approached photography 3 years ago when my little daughter was born. It was a choice made by both curiosity and personal feelings.

What was your first camera?

My first camera was Canon 500d but soon after I bought Fujifilm x100, which has helped me to achieve and get better my personal style.

What is photography to you? And what should not be instead?

Photography is a tool to fix unique moments. Therefore, it should be a matter of freedom, instinct, intuition, sensitiveness and naturalness. The attempt to trap photography and establish strict rules breaks the possibility to catch the fluidity of life with its gestures, emotions and diversity.

1383247_625402824179787_960653671_n

1617176_10202576424645281_405066818_o

1960933_10202576403204745_550499123_o

Which masters of photography inspires you?

I get constant inspiration from William Klein’s work as he is able to capture the dynamism of life, using an interesting and original perspective and filling up the frame with the presence of various characters. I also like Leonard Freed due to his attachment to reality and Alex Webb who manages to control an incredible set of elements in one picture.

What is the photo that struck you the most of a great photographer of the story?

I can’t choose only one photo. I admire William Klein’s portfolios about New York City and Rome.

What is your favorite technique?

I prefer to get into the situations, observe and be patient, so I adopt a close point of view.

Why do street photography?

Because my objective is to document everyday life and human nature. As Joel Meyerowit says “street photography was the only form of the medium that owed nothing to painting or the other plastic arts, it is purely photographic.”

1901342_625402927513110_1118607200_n

1972286_624996840887052_951178270_n

What is your best shot and what does it represent for you?

My best shot is something very personal that I have never showed to anyone. The image is hung on the wall. It regards my daughter.

10001293_625402880846448_1389112884_n

What is your relationship with the street and the people who are in your shots?

There’s no direct relationship between me and the street and its inhabitants, as I try to camouflage, to be invisible, to enter reality without corrupting the spontaneity of moments.