Category: Interview with…

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INTERVIEW WITH … Massimo Russo

Researched by Roberta Pastore

How important is photography to you? Would you have imagined, a few years ago, that this passion would play an important role in your life?

Photography has always attracted my attention. When I was young I liked to take photos of the school trip and I would wait impatiently for the end of the roll to take it to print and see the results. Being able to tell an emotion is something that gives me a lot of satisfaction on a personal level.

Which masters of photography have inspired you in your photographic work?

There are many masters who have inspired me and continue to do so today, accompanying me on my journey of growth. Starting with my favourites Joel Meyerowitz, Fred Herzog, Stephen Shore, Saul Leiter or contemporary photographers such as Vineet Vohra, Reuven Halevi, from each of them I receive feelings that then become my main source of inspiration.

Are you interested in deepening your passion with readings and studies on photographic culture and language?

Yes of course, I am always interested in deepening my photographic culture by expanding it through readings and exhibitions. Among the different photographic languages, street photography is definitely my favourite. But I also like reportage and conceptual photography very much.

Taking a street shot can sometimes be difficult; dealing with people’s reaction or making sure not to be invasive, in the various situations that arise, is not always easy. What is your approach in these circumstances?

Entering the sphere of others can be seen as an intrusion, but I don’t feel limited about it.

Shooting on the street is simple as natural for me, I enter and leave the ‘proximity’ of others naturally and often nobody notice my presence. Certainly body language makes a big difference. Showing arrogance and imposing one’s presence never leads to good results unless they are deliberately sought after but this attitude does not concern me.

In recent years, Street Photography has taken off and many photographers have dedicated themselves to this genre. What do you think is the reason why many prefer to shoot in the street?

I don’t know exactly, maybe the social media or that everyone has a smartphone in their pocket has prompted many to go out on the street and feel like streephers right away but I am of the opinion that only through the study and analysis of masters which have carved a furrow in this style can really help us understand the importance of this genre and how it should be interpreted.

What is the element that differentiates you from other genres?

As far as I am concerned, the spontaneity of the shot, the exceptionality of the moment and the personal vision of each photographer makes street photography different from other languages.

What subjects inspire you and prompt you to look for the shot in the city where you live or in the places you frequent?

Everything that moves is a source of inspiration for me. The human being is definitely the most analysed in my photography. I am very curious and attracted to gestures and urban scenes with their uniqueness, but I am also attracted by animals and how they interact in urban spaces.

What is the limit that should not be crossed in a street photo. Are there ethical rules or is it permissible to shoot everything?

Photography is an art form and therefore cannot have any limits or rules to abide by.

If one takes paths where one’s vision goes beyond these rules, it is only right that they should be made manifest, with the subject as the first instance of course.

What makes an effective street photo? Can you recognise, when you are on the street, the details that can make a simple shot a good photograph?

When I am out on the street I do not have a precise process in mind unless I am following a project. Photos must be ‘felt’, it is a mental process. The eyes and mind are constantly processing and when I feel something then that is the moment.

Has Street Photography as a genre developed in you the attitude to interpret everyday life situations with an original vision and your own style?

Since I am the one that is shooting, that is already my style for me. Certainly the study together with personal life experience make me ‘see’ things that I don’t think are the same as someone else.

That’s why I think that it is not only street photography that determines a vision but our whole experience as human beings that ultimately makes it original.

In a street photo, do you think that light contrasts are important to tell a story or are they just an aesthetic fact?

The graphic element is as important in a street photograph as in other genres. The play of light can help to better tell a story, what I consider important beyond aesthetics is the content.

After the shoot, what actions do you take in terms of processing and editing?

I try to re adapt what my camera detected with what was my vision of that instant, consequently I correct light and shadows if necessary, nothing more.

Do you prefer black and white shots or color?

I shoot almost always in color. When I think of a black and white photo I think I deprive it of all the beauty that colors give us.

You often hear about ‘photo projects’ in Street Photography. Have you ever documented a situation from which a story or the idea for a project was subsequently born? With street photography, can you tell stories that are part of a project?

Raymond Depardon, a French artist photographed Scotland’s famously gritty metropolis capturing much of what he saw as the true spirit of the city of Glasgow. Also Harry Gruyaert Belgian photographer did so in his project “Irish Summer’. So with street photography you can tell stories, I am currently trying to tell a story through this style.

Many times we look back at photos we have taken over the years. Is there one you are particularly attached to and why?

Yes, there is one photograph that introduced me to this genre, perhaps the first one I took and to which I am really fond of. When I discovered the power that those colours, those shadows could generate in my mind, I was fascinated. One day I too will have drawers full of photographs and maybe someone will find a hidden secret in those photos.

sito: www.massimorussophoto.com

instagram: @massimorussophoto

facebook: https://www.facebook.com/maxurs/

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    INTERVIEW WITH … Fabio Renzi

    Researched by Roberta Pastore

    How important is photography to you? Would you have imagined, a few years ago  that this passion would play an important role in your life?
    When I started photography, I was immediately fascinated by the expressive possibilities of photography, then with time my passion began to grow and I realised that it would play an important role in my life.


    Today, photography is my favourite medium for getting in touch with people and places and trying to convey my impressions.



    Which masters of photography have inspired you in your photographic work?
    It is difficult to answer, the first photographers that come to mind are those I discovered at the beginning of my career: William Klein, Josef Koudelka, Larry Towell, Paolo Pellegrin and Marco Pesaresi.



    Are you interested in deepening your passion with readings and studies on photographic culture and language?
    This is something that interests me a lot and I believe it is fundamental for my personal and professional growth. I started photography as a self-taught photographer and later attended training courses to deepen my knowledge of technique and language.

    As soon as I can, I buy photography books and try to see as many exhibitions as possible. Comparing myself with other people’s work is always an opportunity for inspiration and growth.



    Taking a street shot can sometimes be difficult; dealing with people’s reactions or making sure you are not invasive in the various situations that arise is not always easy. What is your approach in these circumstances?
    I generally prefer to photograph spontaneous situations and I adopt all concealment techniques to avoid subjects recognising themselves as the protagonists of my photos. I like to stay inside situations and sometimes it happens that people stop me to ask for explanations, with experience I have learnt that in dialogue sincerity, clarity and above all respect are fundamental. I avoid photographing subjects that I think are not well-disposed and people in difficult conditions unless they are aware and willing to be photographed.   



    In recent years Street Photography has taken off, many photographers have dedicated themselves to this genre. What do you think is the reason why many prefer to shoot in the street?
    It is a genre that offers the opportunity to get to know and relate to the people and places we experience every day and allows everyone to express themselves freely in any medium.

    What is the element that differentiates it from other genres?
    The freedom of expression and access it offers, the road is always there, you just have to want to travel it. I think in other genres of photography, the constraints are stronger and more binding.



    What subjects inspire you and urge you to look for the shot in the city where you live or the places you frequent?
    I always try to go with my instinct, I rarely go out with the idea of looking for something specific. I alternate between static moments where I choose an interesting space and light and wait for something to happen within the frame, and more dynamic situations where I approach the subjects that interest me directly. I like to photograph in crowded and dynamic places because of the multitude of situations and people one can encounter.



    What is the limit that should not be crossed in a street photo. Are there ethical rules or is it permissible to shoot everything?
    I think it depends a lot on the context and what you are doing. It is a question that would deserve a lot of research, but in general the rule I always follow is not to harm anyone’s image or dignity.



    What makes an effective street photo? Can you recognise, when you are on the street, the details that can make a simple shot a good photograph?
    A good street photo is no different from other photos, it should have elements that can arouse something in the viewer and make the viewer stop and think. I believe that the effectiveness of a photo is also very much related to the visual culture and personal experience of the photographer and the viewer.



    Has Street Photography as a genre developed in you an aptitude for interpreting everyday life situations with an original vision and your own style?
    I cannot give a definition to my photographic style. I like to think of style as something at the service of the photographer and the subject shot and as part of a process of continuous evolution and contamination.



    In a street photo, do you think light contrasts are important to tell a story or are they just an aesthetic fact?
    I think form and content are both very important, but they don’t always have to be in balance within a good image.

     After the shoot what do you do in terms of processing and editing?
    I generally take care of it myself, applying the minimum of corrections to enhance the photo, but for printing I prefer to go to professionals. Editing interests me a lot, I like to try to build photo sequences and compare myself with other photographers.



    Do you prefer black and white shots or colour?
    I am interested in both approaches to the same extent, I started out doing mostly black and white and later moved towards colour, it was a natural process, perhaps only conditioned by the works of past authors I approached at the beginning.



    You often hear about ‘photographic projects’ in Street Photography. Have you ever documented a situation from which a story or the idea for a project was subsequently born?
    It is a relatively short time since I have started working in street and I believe that working on a story is useful for me to go beyond the ‘playful’ moment. On the street, there is no shortage of opportunities to find the idea for a project, but you have to choose what you want to work on.



    Many times we look back at the photos we have taken over the years. Is there one you are particularly attached to and why?
    There is not one photo in particular that I am most attached to, but rather to a series of photos that are part of a project that I have been working on for a long time and that has allowed me to grow on a personal and photographic level.


    PERSONAL WEBSITE:

    https://www.facebook.com/Libroengarde?refid=17

    https://www.instagram.com/eyes_look_rome/

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    INTERVIEW WITH … Karl Baden

    Researched by Roberta Pastore

    Columbus – Ohio 1975

    Biography : Karl Baden has been a photographer since 1972. His photographs have been widely exhibited, including at the Robert Mann Gallery, Zabriskie Gallery, Marcuse Pfeifer Gallery, International Center for Photography and the Museum of Modern Art in New York, the Howard Yezerski Gallery, Institute of Contemporary Art, Decordova Museum and The Museum of Fine Arts in Boston, The Museum of Fine Arts in Houston, Musée Batut in France, Photokina in Cologne, Germany, and The Photographers Gallery in London. He has received fellowships from the National Endowment for the Arts, the Massachusetts Artists Foundation, the Massachusetts Council on the Arts and Humanities, the Massachusetts Cultural Council, the Kenan Foundation and Light Work Visual Studies. His photographs and visual books are included in the permanent collections of the Museum of Modern Art, NYC, Museum of Fine Arts, Boston, Museum of Fine Arts, Houston, The Addison Gallery of American Art, Polaroid International Collection, the List Visual Arts Center at MIT, the Guggenheim Museum, the New York Public Library and the Boston Public Library. He has been on the faculty at Boston College since 1989. In 2000, Baden was the subject of a 26-year retrospective exhibition at Light Work Visual Studies. “How did I Get Here?”; a 48-page catalogue, accompanies the exhibition. In 2012, Baden was one of 15 photographers from around the world, living and deceased, to participate in the exhibition “Henri Cartier-Bresson and the Question of Colour”, held at Somerset House in London, England. A 250 page book accompanies the exhibition. In 2014, Blue Sky Books published a monograph of some of Baden’s work from the 1980s, entitled “Work from two Bodies”. In 2016, Retroactive Books published “The Americans by Car”. In 2016, Retroactive Books published “Taking Sides”.

    Worcester – Massachusetts_early – 1990s
    Revere – Massachusetts -1986
    • How important is photography to you? Would you have ever imagined, a few years ago, this passion would have played such an important role in your life?

    After my immediate family, photography is of paramount importance. I pretty much define myself through it. As to your follow-up question, “A few years ago”: In one month it’ll be 50 years since I picked up a camera; a few years ago, my sense of purpose and my aspirations were exactly the same as they are now.

    New York City late – 1980s
    Boston – Massachusetts – 1987
    • Who are the Masters of Photography who inspired you most in your photographic works?

    Too many to count, although since I reached middle age my work has been more focused on what we usually think of as the Real World; I’ve enjoy revisiting Lee Friedlander, Helen Levitt, Roy Decarava, William Gedney and the like. I’ve also been influenced in many ways by photographer friends, including Bill Burke, Judith Black, Chris Killip, Mike Mandel & Chantal Zakari, Susan Meiselas, Henry Horenstein, Carrie Mae Weems, Jack Leuders-Booth, Dore Gardner and Sandra Stark. I’ve never met Jeff Mermelstein or Michael Northrup but I love their pictures, and Don Hudson and Dave Jordano are photographers I wasn’t familiar with before social media, but now I’m a fan. The list could go on…

    Brighton – Massachusetts -2008
    • Are you interested in deepening your passion with readings and studies on culture and photographic language?

    Been there, done that. I’ve absorbed my share of theory over the decades, and will still read up if I find a text compelling. While I don’t doubt the relevance or importance of some of it, I’ve personally found that it obfuscates as much as enlightens. More important, I discovered that I was being subconsciously directed by someone else’s ideas, often taking me in a direction that was not my own, for the sake of feeling “current”.

    Boston – Massachusetts – 2019
    Cambridge – Massachusetts – 2001
    • Taking a shot in the street could be difficult at times; dealing with people’s reactions or making sure it is not invasive in the various situations that could arise, is not always easy. What is your approach in these circumstances?

    The situation on the street has changed, without a doubt, and not for the better. I’d say I have more than my fair share of problems in this regard. I will often bring a small shoulder bag along when I go out shooting, with a couple of books, reviews, installation shots of exhibitions, etc, in an attempt to show people that I am not someone with a suspect agenda. I usually try to stay calm and friendly, but with some people nothing works. I’ve run into an increasing number of individuals who tell me that it is illegal to photograph without asking permission. I try to explain that it is entirely legal – protected first amendment free speech – adding that in many cases if the photographer sees something and stops to ask permission, what they saw originally is now gone forever. But it’s often hard do get a word in edgewise. If I’m lucky I can shake it off and continue walking.

    In the Fall of 2019, I put together a public panel discussion, entitled “When Everyone has a Camera: Street Photography, the Right to Free Speech and the Right to Privacy in the Internet Age.” Youtube link is: https://www.youtube.com/watchv=FQLqD08GpfU&t=1s

    Cambridge – Massachusetts – 2017
    Cambridge – Massachusetts – 2018
    • In recent years, Street Photography has caught on, and many photographers have become keen on it. What do you think is the reason why many of them prefer to shoot on the street?

    That’s a very good question and I’m not sure I can provide the answer. In fact, I had no idea that Street Photography had experienced a resurgence until people started telling me. Off the top of my head, I imagine that, quite ironically, what may be responsible for its popularity are some of the same elements that have made it more dangerous: Phone cameras and social media platforms.

    Arizona – 1975
    • What makes it different from other genres?

    I assume you mean other genres in photography. The quick answer might be something like spontaneity, but I don’t necessarily feel that good art pays too much attention to genres. We tend to classify after the fact, in order to make us feel more comfortable and in control.

    from ‘In_Our_House’ -Cambridge – Massachusetts – 1994
    Cat Show Early -1990
    • What subjects inspire you and push you to look for the shot in the city where you live or in the places you frequent?

    In terms of general environment, I tend to be a city rat. The crazier things look, the more interested I am.

    Utah – 1975
    Wall Drug – South Dakota – 1975
    • What is the line you don’t cross in a street photo. Are there ethical rules or is it allowed to shoot everything?

    Given that it is legal most places in this country to photograph anything as long as one is in a public space, I think everyone has to decide on their individual moral code and their own ethical limits. These days, I try to avoid taking pictures of children, the homeless or others without agency, but sometimes these caveats are difficult to determine in situations that require a quick response.

    from ‘Rising’ 2015
    • What makes a street photo expressive? Can you recognize, when you’re on the street, all details that can make a simple photo shoot a good photograph?

    There is not one, two, ten or one hundred things that make a photo expressive each and every time. Unless it is part of the conceptual framework of one’s practice, aesthetic rules are dangerous. For every “how to” formula, I can show you a dozen pictures that are amazing precisely because they go against that particular formula.

    • Street Photography as a genre, has developed in you the ability to interpret everyday situations with an original vision and your own style?

    I’ve been influenced by many people, movements, etc, and I’m sure some of that shows in my work. However, even after all these years, I find it challenging enough to make what I feel is a decent picture, without having to clutter my mind with whether or not I’m original or have a personal style. Style and originality happen (or don’t) as a byproduct of what one does. If thought about too much they can kill the exploratory nature of creativity.

    • In a street photo, do you think that light contrasts are important to tell a story or are they just an aesthetic aspect?

    In any visual medium, the best work often occurs when form and content become one and the same.

    • After shooting, what actions do you take in terms of processing and editing?

    In terms of digital, I usually don’t do anything I wouldn’t be able to do in a darkroom. So, I’ll adjust density, contrast, color balance, saturation and burning/dodging. Occasionally I crop.

    • Do you prefer shots in black and white or colour?

    Neither and both.

    • We often hear about “photographic projects” in Street Photography too. Have you ever documented a situation from which, subsequently, a story or the idea of a project was born?

    Absolutely. I have had fully-baked ideas that have turned into projects, but much more often I will look at my photos/contact sheets and follow up on something I didn’t realize I’d been doing already.

    • We often look at the photos we’ve taken over the years. Is there one you’re particularly keen on and why?

    Interestingly, I’ve spent much Covid time going through contact sheets and slides dating back to late 1971, scanning film and making prints. I’ve found hundreds of images that at the time never made it off the contacts. Naturally there are pictures that I’m drawn to, but I rarely have the same feelings about them as I have about work that others have done. It may be that I photograph in part to get stuff out of my system, and once it’s out, I move on to the next thing.

    Pages and websites

    https://www.howardyezerski.com/karl-baden

    Covering Photography: https://cte.bc.edu/baden6/

    Every Day: http://kbeveryday.blogspot.com

    Interviews:

    http://blakeandrews.blogspot.com/2017/04/q-with-karl-baden.html

    https://www.fragmentphotos.com/karl-baden-s-interview

    YouTube:

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    Interview with … Luca Gennatiempo

    RESEARCHED BY ROBERTA PASTORE


    LUCA GENNATIEMPO

    I am an Italian street photographer, born in Salerno in 1986. I started photographing in 2015 as a self-taught. First real approach to street photography took place in 2017 in Milan where I lived and deepened the topic. I’ve always considered myself a loner, a misanthrope. Street photography was the key to getting closer to people and feed my social and anthropological interests.

    How important is photography to you? Would you have ever imagined, a few years ago, this passion would have played such an important role in your life?

    One day a person dear to me looked at a photo I had taken with my smartphone and told me it was good, he told me I should investigate. Since that day I have never stopped being interested in photography. Photography today is my medicine for the mind and for the body.

    Who are the Masters of Photography who inspired you most in your photographic works?

    Many people associate my photographs with those of Alex Webb. For sure Webb has predominantly influenced my photographic culture. Among the great masters, however, I cannot fail to mention William Klein. I love his photographs.

    Are you interested in deepening your passion with readings and studies on culture and photographic language?

    As Ansel Adams said: “You put in photography all the images you have seen, the books you have read, the music you have listened and the people you have loved”. In my opinion, you cannot produce a good photograph without having a solid cultural base.

    Taking a shot in the street could be difficult at times; dealing with people’s reactions or making sure it is not invasive in the various situations that could arise, is not always easy. What is your approach in these circumstances?

    I always try to be “invisible”. Sometimes I get away with a smile. It has happened very few times that you have had problems with people

    In recent years, Street Photography has caught on, and many photographers have become keen on it. What do you think is the reason why many of them prefer to shoot on the street?

    My opinion is that people think street photography is easy. social networks are flooded with junk images. There are very few who stand out for their skill. There are few who have an important visual culture behind them.

    What makes it different from other genres?

    Compared to other genres you need to have worn out shoe soles (smile)

    What subjects inspire you and push you to look for the shot in the city where you live or in the places you frequent?


    More than a subject I am looking for a particular situation. I love to tell stories in my photos.

    What is the line you don’t cross in a street photo. Are there ethical rules or is it allowed to shoot everything?

    Oh yes, there are ethical rules! I can’t stand those who photograph people in difficulty, homeless people etc …

    What makes a street photo expressive? Can you recognize, when you’re on the street, all details that can make a simple photo shoot a good photograph?

    The success of a good street photo depends on many factors. I often realize that I have taken a good photo only when I get home and see it on my pc. When I’m on the street I’m too focused on grasping what the street has to offer me.

    Street Photography as a genre, has developed in you the ability to interpret everyday situations with an original vision and your own style?

    Street photography has certainly made me more attentive to the things around me. I happen to “photograph” even when I leave the house without a camera. I look at a scene, wait for everything to fit perfectly and take a picture with my mind.

    In a street photo, do you think that light contrasts are important to tell a story or are they just an aesthetic aspect?

    Everything that is imprinted on the sensor is useful in telling a story. What I don’t like is excessive post-production. Often we try to improve a mediocre photograph with postproduction techniques.

    After shooting, what actions do you take in terms of processing and editing?

    I try to get the most natural result possible. I am often satisfied with the JPGs that come out of the camera .

    Do you prefer shots in black and white or colour?

    This is an age-old question in my photographic journey. I am a changeable person and with me the way I photograph also changes so much that I am unable to create my own personal style . Even if people say they recognize my photos at first sight. In the latter period I have been using color.

    We often hear about “photographic projects” in Street Photography too. Have you ever documented a situation from which, subsequently, a story or the idea of a project was born?

    Never happened. At the moment each photograph is a story in itself.

    We often look at the photos we’ve taken over the years. Is there one you’re particularly keen on and why?

    Yes, there is a photo in particular. I took it in Pavia at the dawn of my photographic experience. From that day on I realized that street photography was what I wanted

    Web site :

    https://www.facebook.com/lucagennatiempofotografia

    https://www.instagram.com/luca_gennatiempo/

    https://lucagennatiempo.wixsite.com/photography

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    INTERVIEW WITH … Francesco Ruffoni

    RESEARCHED BY ROBERTA PASTORE

    https://web.facebook.com/il.ruffo
    https://www.francescoruffoni.com/

    Francesco Ruffoni was born in Italy on September 24th 1980 and lives in Chiang Mai in northern Thailand.He has always been passionate about travelling and sees photography as a way to document the places he visits and the people he meets.“I love to mix with people and I feel the need to do so, to capture an idea, a moment or an emotion with my camera.

    Who are the artists, also outside the photography field, that inspire you in your photographic work and style? Those who most inspire my photographs are the great American photographers such as: Robert Frank, Garry Winogrand and Elliot Erwitt. I consider their photographs to be masterpieces. I also follow other more contemporary photographers. I think that today’s photography has introduced us to many new talents with excellent works.

    How important is style to you and what do you think are the features common to all your recent production? The photographic style is what every photographer aspires to have their own communicative key different from the others and for me also is important too. The common features that can be seen in my last project “Chiang Mai” are certainly a journey that began a few years ago by telling about my daily life touching more aspects such as humor, reflection and the emotions the I live here every day.

    Your street photography is extremely focused on the people. What do you look for in the face of a potential subject, what are the characteristics that move you to take a photo and, in your opinion, which is the characteristic that a good street phoytography must have? I often try to capture a natural expression of the subjectthat at that moment attracts my attention but his gestures and dynamism in his daily environment are also important, clearly i’am looking for something strong and communicative. In my opinion, a good street photography must first of all have an idea behind it and composition that both effective, that is, to create photographs with different ideas out of everyone’s reach.

    What is the importance that a glance may have within an image and what relationship is created between the subject and the viewer? The look inside the camera is certainly important but sometimes even just taking a photograph in the daily actions of life can in my opinion come out interesting photographs, if you are not afraid or awe of photographing a person especially when looking in the camera between photographer and subject happen something magical, because it is the subject who at the moment offers you the photograph.

    What reaction do your subjects have once photographed? Do you happen to interact with them?I try to immerse myself in the social context that I want photograph trying to be as much as possible within the composition, despite everything many times the subjects are surprised and give me the feeling after the shot of not understanding what they really are interesting for me…Yes I have interactions mainly with children, I show them the photographs just taken.

    Taking photography on the street is not easy. One needs to seize the moment before the perfect instant that we want to capture is lost while being able to not interfere with the scene unintentionally. What is your approach on the road to capture the perfect moment? At a technical level what advice can you give for this kind of approach? Yes, I think Street Photography is among the most complex in photography. My approach on the street to capture the perfect moment or whatever a good photograph is to have a lot of time to devote to photography, if I see a place or something that can become a good photographic inspiration is to return to that place for sure. I carefully observed the dynamics always remaining attentive and vigilant can help a lot. Then a trained eye that can be refined over time and a lot of luck too.

    What kind of camera do you use and which focal point do you prefer for your work and why? I used a medium format mirrorless camera, very light and manual. I used 23 and 35 mm. focal lengths but I prefer 35 mm, because this focal length is everything to do it allows me to make close-up portraits and set portraits.

    Has street photography, as a genre, developed in you the ability to photograph in any light condition and to interpret everyday life situations with an appealing vision? I am not really interested in light but yes in photography, if I see a good photograph at noon or with a strong light I do it, many times it can be a good starting point for something different and interesting.

    Based on what factors do you choose between black and white or color? I usually turn black and white photos when the color dominances are clear between them and especially when I decide if the project or series of photographs will be in black and white or in color.

    Are you going out specifically to take photos or do you always carry your camera with you at all times, ready to shoot at any time?I always try to take my camera with me, always ready to shoot.

    What is your relationship with post production and what do you think is its job in the economy of taking a photo? The relationship I have with post-production is very basic. I limit my self to adjusting a few things but that can bring out the details of the photography certainly. Made the post-production for certain types of photography has it’s great dominant but for street photography in my opinion is not necessary a post production too accurate.

    Chiang Mai is your playground, the city where you shoot. What it means to shoot in Thailandia ? Do you find that the subjects there have things in common that you seek? What fascinates you about this environment? What are the features that make it unique? Tell us about your typical day on the streets of this city with your camera around your neck. After several years of photographing in Chiang Mai, I was able to understand how people live and move and consequently how to photograph them without deteriorating the scene…I’m fascinated by the movements and culture of these people and the way in which they present themself in the envoirement in which they live with is totally different to the western one, in my opinion is also easier to take a pictures here because the local people are not afraid of the camera. Chiang Mai is my home is difficult to explain in words why and what fascinates me about this city, I can only say that it is magical with is traditions, markets and nice people. I usually go out for photography during the day even but I prefer the afternoon, there are several places in the city where people have different types of connections, such as markets, parks, squares and streets, where is easier to find situations and dynamics that can happen and it’s I spend a time there every day (3/4 hours). I walk a lot but I move slowly trying to be very attentive to what is happening around me, waiting for the moment or an interesting scene to photograph it. If I understand that a good photograph could come out in certain place, I try to go back several times and maybe something happen. In my opinion to be able to take good photographs of Street Photography many things are necessary: spend a lot of time in the street, passion, constancy, good composition, idea that you want to convey, trained eye and also a lot of luck.

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    INTERVIEW WITH … Ivan Fei

    RESEARCHED BY ROBERTA PASTORE

    I was born in Milan in 1977.
    I started my photographic journey when I was very young with my father’s Zorki4 to document our family holidays.
    I studied in Visual Communication and after starting to work as an assistant for Mondadori Italy with the greatest Italian photographers in Photography Studios.
    My photograph is in the street because in the street there is life

    How important is photography to you? Would you have ever imagined, a few years ago, this passion would have played such an important role in your life?

    Photography is part of my life. It has always been like music and painting

    Who are the Masters of Photography who inspired you most in your photographic works?

    Many masters inspired my passion.
    The list is very long from: William Klein, Marco Pesaresi, Ferdinando Scianna, Gianni Berengo Gradin, Robert Frank, Man Ray,
    Manu Brabo, Michael Akerman, Andrè Kertesz,
    Garry Winogrand, Boogie, Weeggee. Daido Moriyama up to the works of many others

    Taking a shot in the street could be difficult at times; dealing with people’s reactions or making sure it is not invasive in the various situations that could arise, is not always easy. What is your approach in these circumstances?
    My approach is to stay relaxed and happy to do my work ,i dont feel me inappropriate I’m ever in my place on the street and with all the respect deserved to the subject.

    In recent years, Street Photography has caught on, and many photographers have become keen on it. What do you think is the reason why many of them prefer to shoot on the street? Maybe one of the point is the freedom because on the street you don’t have to know how many Flash Light or backdrop or makeup or props you have to use in a Studio or the assignment you have to do , i’ve meet many street photographers that don’t know the basic of photography and the Masters as well.
    Maybe its just an easy way to do photography ,but not for everybody sure.

    What makes it different from other genres? Its an obsession for that frame and gesture or some geometry joke about to tell
    stories and explain the daily life in the world.

    What subjects inspire you and push you to look for the shot in the city where you live or in the places you frequent? I am not looking for a particular subject, I like the style of the clothes and also the facial expression, which is very important to me, but the most fascinating thing is to have a dynamic shot.

    What is the line you don’t cross in a street photo. Are there ethical rules or is it allowed to shoot everything?
    I don’t really care about what i can or i can not to shoot in the street i have my limit’s like evryone for sure i’m not like Bruce Gilden or someone like him.

    What makes a street photo expressive? Can you recognize, when you’re on the street, all details that can make a simple photo shoot a good photograph?
    For me the action of the scene and a combo of element too, geometrical light and shadow street element everythings together make a good photos.

    Street Photography as a genre, has developed in you the ability to interpret everyday situations with an original vision and your own style? Yes for sure maybe the repetition of certain moods and actitudes make an own style.

    After shooting, what actions do you take in terms of processing and editing? Post production of a shot is very simple for me. Usage
    a plug in: Silver EFEX Pro. I only work on contrast and texture because I don’t like to exaggerate on my shots

    We often hear about “photographic projects” in Street Photography too. Have you ever documented a situation from which, subsequently, a story or the idea of a project was born? Yes in a Street Photography Stories grown on the road and when you realize that series will be a Story , i prefer to say Story not Project ,yes can you make a story from a series, but for me the street photography is about a single SHOT and you have to put everythings inside.

    We often look at the photos we’ve taken over the years. Is there one you’re particularly keen on and why? There is a photo that I care very much about, a portrait of a dear friend of mine who died of cancer.
    This photo is a portrait, I also shoot portraits for work, what interests me is to document life with all photographic styles and not only with street photography

    My website:

    personal web site

    https://ivanfei.weebly.com/

    Instagram:

    https://www.instagram.com/feiivanoriggifei/

    Facebook:

    https://www.facebook.com/ivan.bdrphotography

    Posted on

    INTERVIEW WITH… Domenico Tangro

    RESEARCHED BY ROBERTA PASTORE

    Domenico Tangro was born in Bari in 1974. He approached initially the photography in 2005, but it had been in 2015 that a real passion began, a passion still cultivated.In fact in the same year as well as the passion, photography started to become a study, a culture, an heritage to be expanded without measure, limits and without any break.

    The feast of “Santi Medici” is principally based on the procession, called “Intorciata”, that last the whole day. The procession starts by coming out statues from the sanctuary: after they have passed the portal of the church with a certain slowness, people use to kneel in front of the statues and kiss them.Someone follows the parade pointing they gaze to the statues of the two Saints and walking backwards; Among them, others carry heavy candles, usually seven feet tall, through the whole route, walking barefoot with hands and toes penitents for the boiling wax dripping.

    Prayer, devotion, spirituality…All you could read in their eyes, the eyes of the faithful, beyond wich there are recounted life stories, misery and pain. They ask for an intercession and the fire of their burning candles is the energy necessary in oder of reaching this intercession.

    How important is photography to you? Would you have ever imagined, a few years ago, this passion would have played such an important role in your life? I mainly use photography as a means of release and I would have never imagined it would have played such an important role in my life, while now even the most trivial vision may be interpretated in the key of photography.

    Taking a shot in the street could be difficult at times; dealing with people’s reactions or making sure it is not invasive in the various situations that could arise, is not always easy. What is your approach in these circumstances? I know that sometimes it could result difficult to approach in a lot of circumstances, especially when you have to deal with strangers, but I have to say that due to use of mirrorless already adopted many years ago, I managed to establish a minimally-invasive, more civil and well-balanced contact with street Photography.

    Who are the Masters of Photography who inspired you most in your photographic works? The Masters of Photography, who have primarily inspired my works, are Mario Dondero, Josef Koudelka, and last but not least Joel Meyerowitz.

    Are you interested in deepening your passion with readings and studies on culture and photographic language? I find really fulfilling and fascinating explore the world of Photography in all of his shades and with all the means possible. In fact I am used to deepen by buying monographs or by read up online on works made by others .

    In recent years, Street Photography has caught on, and many photographers have become keen on it. What do you think is the reason why many of them prefer to shoot on the street? In my personal and modest opinion, Street Photography may have taken hold as it has been in parallel its conception as an easy genre. On the contrary I think that this genre is quite complex because the border with banality is fleeting.

    What makes it different from other genres? Photography is a proaction of reality.This means that reality is the point of departure and although it is non true that photography doesn’t lie, instead we can say that all shoot are lies…well, I think that at this point the best way to define street photography is as a white lie, a lie that mostly comes close to reality, and in some ways it tries to enclose a photographer’s testimony in a frame. A personal perception that stretches from the eyes of the photographer all the way to the eyes of the readers through the camera lens.

    What subjects inspire you and push you to look for the shot in the city where you live or in the places you frequent? Living in the South of Italy, more precisely in Bitonto, a city located in Apulia, where the religiosity is around every corner as for culture, history and tradition, I find the contact with this aspect natural and spontaneous. Despite sometimes my assumption is different, most often I get hit by the surrounding area and by a context of this caliber, regaining all this as protagonist of my shoots.

    What is the line you don’t cross in a street photo. Are there ethical rules or is it allowed to shoot everything? A principles of mine, of wich I mostly avail myself, says not to shoot at “unarmed” people. With this term I mean tramps, destitute or any other category of wich I could prejudicing the dignity. While, in case of shooting kids, I shoot only if authorized.

    What makes a street photo expressive? Can you recognize, when you’re on the street, all details that can make a simple photo shoot a good photograph?

    Good things come to those who wait and often when we least expect them, Hundertwasser. Especially in the Street Photography, with the experience I have learnt that in addition of having an eye, patience always pays off.Patience allows you to catch the perfect moment, the perfect detail in an exact moment in order to strengthen the significance or in order to make a mundane shoot into something unique.

    Street Photography as a genre, has developed in you the ability to interpret everyday situations with an original vision and your own style? Art is not what you see, but what you make others see, Edgar Degas.And what better eye, trained and used to capture life behind everything, an eye hungry for peculiarity in the daily life that belong to us, what better suited eye if it isn’t the one of a street photographer…

    In a street photo, do you think that light contrasts are important to tell a story or are they just an aesthetic aspect? Beyond the relevant role played by light, shadows and contrasts, all that matters in photography si the message; naturally, like everything, there are trends in photography too as regarding styles and techniques.

    After shooting, what actions do you take in terms of processing and editing? Processing and editing are the phases of the process that I found more boring, but obviously they are part of the work, so they as not interesting for me as important for the shoot.I personally prefer to work with Lightroom and to adjust shadows, lights and a number of contrasts.

    Do you prefer shots in black and white or colour? I have not a preference.it depends on what I want to produce on readers.

    We often hear about “photographic projects” in Street Photography too. Have you ever documented a situation from which, subsequently, a story or the idea of a project was born? Unfortunately I have never had the pleasure or the opportunity of taking part in projects regarding street photography, beacuse only recently I have approached to this world. Even if I have to admit that so intrigued and keen on this genre, I am projecting myself in new adventures with a lot of enthusiasm in order to realize some ideas into something concrete, hoping in the near future.

    We often look at the photos we’ve taken over the years. Is there one you’re particularly keen on and why? To estabilish a single shoot in wich I am particularly affectionate it is not that easy.Every photo has its own story and every story has its own charm due to his uniqueness. Nevertheless if I had to leap, I would choose a shoot of mine that I find really emblematic.It is taken from a reportage, wich by the way has allowed me to be selected as one of the best emerging photographer in Italy and to represent the excellence of the photography of our country in China. This reportage I did, was about Lucrezia, an old lady suffering from Alzheimer.

    Personal website:

    https://www.facebook.com/tingo.grafia.7

    https://www.instagram.com/domenicotangro/?hl=it

    Posted on

    INTERVIEW WITH… Liliana Ranalletta



    from The fabulous destiny of Dainaly
    • How important is photography to you? Would you have ever imagined, a few years ago, this passion would have played such an important role in your life?

    Photography has appeared to me late in life and I never thought it could involve me so much to literally absorb every moment of my existence. From the passion for nature, I started practicing macro photography and from the observation of the “particular”, I have learned to look and carefully observe everything around me. I like being around people, I love people, I am curious and a great observer of mankind. I started doing street photography ten years ago and now I wouldn’t be able to live without.

    from The fabulous destiny of Dainaly

    The ability to freeze the instant and the unusual, gives me an indescribable feeling.The interest in humanity led me to investigate the everyday life, not only on the street, but wherever there could be an interaction among people.Besides freezing images of faces and situations, it’s nice to be able to tell a story by feeling and communicating emotions. Today photography for me is an urgency, a passion, an encounter, a means to investigate the reality that surrounds me.

    from The fabulous destiny of Dainaly
    • Who are the Masters of Photography who inspired you most in your photographic works?

    Robert Capa, Henri Cartier-Bresson, Sebastião Salgado, Elliott Erwitt and Gianni Berengo Gardin, William Klein, Robert Frank, Robert Capa, William Eggleston, Fred Herzog and Joel Meyerowitz. Vivien Maier for the strength, sweetness and humanity of her shots. Alex Webb for his ability to capture almost always complex interconnections within the frame. Henri Cartier Bresson for his attention to the composition in the shooting phase and the speed of execution. Martin Parr for his ability to highlight, through investigation in everyday life, social aspects of contemporary society. David Alan Harvey for the intensity of his shots and for the sympathy and kindness towards me when he came to Rome. In addition to them, some exceptional Italian interpreters such as Piergiorgio Branzi, Paolo Pellegrin.

    Rio de Janeiro
    Rio de Janeiro
    • Are you interested in deepening your passion with readings and studies on culture and photographic language?

    In addition to the continuous study of the photographic language, my passion leads me to visit exhibitions, buy books, go to museums, watch films, travel, live different experiences, have contacts with photographers, follow their professional path and work on projects to create stories to tell. I find it useful to read monographic books by great photographers to understand the birth of a project and all necessary and relevant actions to develop and finalize it.

    Rio de Janeiro

    • Taking a shot in the street could be difficult at times; dealing with people’s reactions or making sure it is not invasive in the various situations that could arise, is not always easy. What is your approach in these circumstances?

    Each place is potentially suitable for interesting shots.
    In addition to the street, I also like to shoot in indoors places, such as shops or museums.
    In every place, I try to make myself invisible so as not to attract the attention of people close to me.
    I have made many shots, and situations in which I had to justify what I was doing, were very few and they always ended in a conciliatory and friendly way.
    To feel comfortable, I choose a crowded place, or an interesting background and I wait for people to come towards me.
    I don’t look directly at the subjects to make it seem like I’m shooting what’s behind them. I almost always use a lens with a short focal length. Lenses from 24 to 35mm are fine as they are less visible and with a wide shooting angle.
    I try to be as natural as possible, always showing a smile of cheer.
    Should the person being photographed feel uncomfortable, I show the photograph with a smile and give my business card by offering to send it to them via the web.

    Rio de Janeiro
    Rio de Janeiro
    • In recent years, Street Photography has caught on, and many photographers have become keen on it. What do you think is the reason why many of them prefer to shoot on the street?

    It’s a photographic genre that, for some years now, has taken hold, recruiting numerous followers.
    Perhaps because it is mistakenly believed that it’ s easy to take street pictures believing that it’s just sufficient to take a picture in the street but it’s not the street that makes it so, but the way to capture the moments.
    It is a dynamic and above all instinctive form of photography. It documents relationships, emotions and events in which men are the main protagonists. Street is the place where relationships are most frequent, where you can find thousands of interesting, unpredictable, unique and situations able to highlight aspects of everyday life.

    Rome – Ponte di Nona
    Rome – Ponte di Nona

    • What makes it different from other genres?

    Street photography is of considerable social importance. Through the lens, the street photographer captures events that are happening on the street, highlighting comic and ironic aspects. First, they describe glimpses of everyday life, characterized by a strong realism.

    Secondly, the moments recorded in street photography are unrepeatable, more than in other genres. Each photo, except perhaps those taken in the studio, fixes a scene that will never be identical. Then, without a shadow of a doubt, an indisputable strength are people.

    • What subjects inspire you and push you to look for the shot in the city where you live or in the places you frequent?

    My object of photographic observation is above all the human being and the environment in which he lives. I like to share stories that somehow tell someone’s life especially in the social sphere. My gaze starts from something that has excited me, it can be an article I read, a book, an experience, an encounter or a testimony.

    When I go out, I always carry my camera with me so as I donìt bitterly regret not having brought it if an interesting situation arises and, while I walk, I look around as if I were a hunter and often I identify the scene or the person who has potential. I follow it because sooner or later, I feel that something will happen. Most of the time, the choice of theme is not premeditated but rather dictated by casual encounters that excite me and make me open my eyes to aspects I previously ignored or knew superficially. My latest works: “The fabulous destiny of Dainaly”, photobook edited by DerLab and ““I sogni li spendo per strada” (I spend my dreams on the street) the latest in the home stretch, were born by chance but they took me three years each.

    • What is the line you don’t cross in a street photo. Are there ethical rules or is it allowed to shoot everything?

    I have ethical principles I strictly follow. I never photograph beggars, cripples, the sick and all people in trouble. Talking with Tiziana Faraoni, photo editor-in-chief of the weekly magazine L’Espresso, we discussed whether or not to publish a photo that could trouble the public and we both came to the same conclusion: in some situations it is better not to publish.

    • What makes a street photo expressive? Can you recognize, when you’re on the street, all details that can make a simple photo shoot a good photograph?

    A street photo is expressive if it tells something. The feeling of having taken a good shot is generally immediate and it doesn’t happen every day and when it does, I realize it in the evening, once back home. Much of the work that leads to taking a good picture is done before you pick up the camera, and afterwards, when you work on it. Before you capture an image, you need to pre-visualize the photo or its potential through your eyes.

    • Street Photography as a genre, has developed in you the ability to interpret everyday situations with an original vision and your own style?

    I have always looked at the world around me with an curious eye to find situations that others did not see, to enter the scene, to take part in them. It is difficult to answer this question as it should be the others who recognize a style in you. I envy photographers who can be recognized by their images. It should be the goal of every good photographer to create their own style.




    from project “I spend my dreams on the street”
    • In a street photo, do you think that light contrasts are important to tell a story or are they just an aesthetic aspect?

    A photo must tell, of course, but above all it must excite. Certainly, the contrasts of light add something to the image, but if you limit yourself to them it would only be an aesthetic exercise. I’m interested in the image being emotional but, above all, in its curiosity.

    from project “I spend my dreams on the street”
    • After shooting, what actions do you take in terms of processing and editing?

    In post-production I use the latest version of Photoshop and I had a super trainer, Claudio Palmisano www.claudiopalmisano.com , of which you can read an interview on my website, https://lilianaranalletta.it/intervista-a-claudio-palmisano/ .

    In post-production I set myself the limit of never presenting something other than reality. For the editing and the construction of the portfolio, I attended various courses with Augusto Pieroni and Annalisa D’Angelo. In a first phase, I always print the photos that interest me for a job in order to be able to move as I like and verify their functioning. Afterwards I turn to some a person who’s experienced as you can’t be objective with your photos.

    • Do you prefer shots in black and white or colour?

    If the purpose of the shot is a b/w photo, I pre-display it in black and white while shooting. Specifically, I try to see it in its chiaroscuro values, mentally eliminating the colour and therefore the technical choices come accordingly. Black and white, colour, image cutting, shooting angle, depth of field, are just technical choices to highlight an idea, a feeling because the photo is communication.

    from the project: of masters and shops
    • We often hear about “photographic projects” in Street Photography too. Have you ever documented a situation from which, subsequently, a story or the idea of ​​a project was born?

    At first, I shot single photos without any connection other than the street genre, later, not happy with results, I felt the need to work on projects. If you want to make a leap forward as a photographer, you can’t just take single shots, you must start “telling by pictures”.

    Miami
    Rome
    Rome
    Rome
    • We often look at the photos we’ve taken over the years. Is there one you’re particularly keen on and why?

    Honestly, the photos taken in the past, generally do not satisfy me today even if some of them remind me of the enthusiasm with which I took them. When I was taking macro photographs, some of them were the result of hard research of the subjects to be shot and of considerable efforts in improving the technique, which was certainly not easy. For a while, I have been working hard on the reflections of dew drops and certainly some of these images are very dear to me. In street photography, I am very fond of an image taken in a circus as in that moment, I pre-viewed my project which then became the photobook “The fabulous destiny of Dainaly”.

    London
    Instanbul
    Howth – Irlanda
    Posted on

    Interview with…Simone Morelli

    RESEARCHED BY ROBERTA PASTORE

    How important is photography to you? Would you have imagined, a few years ago, that this passion would play an important role in your life?

    Until a few years ago, I would have never imagined I would grew fond of photography. Over time, this art form has become a passion of mine and the language through which I can finally express myself. Before approaching photography, I had tried to give free rein to my creativity through writing, but once I entered the world of photography, I understood that this was the best way, so much so that it almost became an obsession.

    • Who are the masters of photography who inspired you in your photographic works?

    I started shooting photos out of curiosity and before approaching the masters of photography I developed my own style. I lived for a few years in Stockholm and at that time I was gifted a Russian analogue camera with which I started shooting, trying above all to immortalize the human figure, therefore preferring people as subjects of my shots. Subsequently I started to approach the masters of photography who intrigued me and later inspired me: from Trent Parke to Joel Meyerowitz, Josef Koudelka, and then Gerry Winogrand, James Natchway and finally Marco Pesaresi

    • Are you interested in deepening your passion with readings and studies on culture and photographic language?

    I am fond of photo books, a passion that was transmitted to me by a very important person, a point of reference, my teacher Stefano Mirabella. He made me enthused and opened my eyes to a specific photographic style, Street Photography. Another fundamental person in my photographic journey is my friend Perry Hall, from whom I learned the basic notions of development and printing of analog films. Photography remains for me an expressive language in all respects, a different way of telling myself, to make myself known to others. Photography has made me more sensitive, it has given me the opportunity to reflect and pay attention to small things, also through the works of other photographers. This should be an opportunity that everyone should have, so that they are more aware of the world we live in.

    • Taking a shot on the street can sometimes be difficult; coping with people’s reactions or making sure that they are not invasive in the various situations that arise is not always easy. What is your approach in these circumstances?

    Taking street photos is not easy task because in some occasions we run into one of the innumerable reactions that an individual can have. This also depends on the place of belonging of the subject, city or village; if we are in Italy, Japan or India, the subject’s approach toward the street photographer can vary, but often even being in your own city, the reactions can be different from person to person.

    However, the shooting moment itself does not cause me problems, I even like finding myself in difficult situations, where I still take the shot in a natural way without hiding. I am a photographer and I don’t need and want to hide it, and if someone does not accept the fact that I took a picture of him, I try to motivate the subject and make him understand my intentions, showing some of my shots saved on my smart phone, in a cordial and smiling way. This approach of mine has often helped me and allowed me to have further interaction with the subjects I shoot.

    • In recent years Street Photography has taken hold, many photographers are dedicated to this genre. What do you think is the reason why many prefer to shoot on the street?

    Internet and social platforms have given photography a way to emerge. Street Photography has caught on, compared to other styles, precisely because the “street” is within everyone’s reach and also because it is possible to use different tools for this kind of photography, from the optical bench to the Smart Phone. It remains a style that can be approached with ease, capturing moments of life without inordinate preparation and no posed shoot. The important thing is to get involved and be surprised by everyday life.

    • What is the element that differentiates it from other genres?

    Street photography it’s different from other styles because it’s always spontaneous and usually no one is posing for the shot (even if it’s not always like this). The photographer must be able to read the scene regardless the situation in front of him and create a composition, therefore take a nice shot.

    • Which subjects inspire you and urge you to look for the shot in the city where you live or in the places you frequent?

    My favourite subjects are people, I like to observe them, capture the expressions and attitudes of mankind, but I do not disdain a beautiful landscape or the animal world, everything that is life for me is very attractive.

    • What is the limit that should not be crossed in a street photo. Are there ethical rules or is it allowed to take everything back?

    Reading texts on photography and the observation of the work of other photographers has made me aware of the fact that we can photograph anything and any type of situation. Photographing details, or peering with a telephoto lens through an illuminated window or in a park in the night can be equally surprisingly. Certainly, photography has limits that must respect ethical rules that assure that none is harmed in any way. My showing off during the shot is therefore a desire to make the subject participate in what I am doing.

    • What makes a street photo effective? Can you recognize, when you’re on the street, the details that can make a good snapshot of a good photograph?

    Answering is quite complicated; I could say, yes, I know what makes a street photo a good photo, but it is difficult to explain it, because the subjects, the shots and the framing styles you can choose are truly infinite. I could therefore answer like this: a good framing, a subject of great impact or a situation of great impact, or both together. The other element is certainly the emotion that taking a shot gives me, for example I love the feeling I have when the subject looks into the camera.

    • Has Street Photography as a genre developed in you the attitude to interpret everyday situations with an original vision and your own style?

    I don’t like to keep the same style, I also like to approach the shoots with different tools, often changing the camera and using different types of films, I even use sometimes a “pinhole camera”. I can shot landscapes, portraits and other styles and I tend to change often the point of view. I consider myself an experimenter on photography.

    • In a street photo, do you think that the contrasts of light are important for telling a story or are they just an aesthetic fact?

    The light’s contrasts may be important for telling a story, it depends, if the content of the shoot is good and the photo “speaks up”: so it can be more than a mere and aesthetic element and be decisive for the success of a photo.

    • After the shot, what are the actions you take in terms of processing and editing?

    I usually shot film, and I want to focus on the action I’m trying to catch on camera, so I prefer to wait to see the picture and let it rest. In this way I can go back to it after a while and watch it with a clearer mind and a rested eye: I do this because I love to take the picture with my mind and only then with the camera. For example I worked on my last project with a digital camera, but to follow my philosophy on shooting I covered the camera’s screen with a piece of cardboard.

    Do you prefer black and white shots or color?

    Normally I love to shoot in black and white, but sometimes I also enjoy the color even if it ends up distracting me. My vision is in black and white.

    • We often hear about “photographic projects” also in Street Photography. Have you ever documented a situation from which, subsequently, a story or the idea of ​​a project was born?

    Yes. My latest project, for example, was born by chance at a time when I was uninspired. Reviewing my old shots, I was struck by a photo that I had never given much attention to. The subject was an elderly lady, with an absorbed look watching out of a small bus window. That photo gave way for my “In The Bubble” project.

    • Many times we look at the photos we have taken over the years. Is there one you are particularly attached to and why?

    Yes, there are, but all of them are photos that I have not yet taken. These are the shots that perhaps we all have inside and remain etched within us and make us want to go further and try to improve ourselves, trying to tell ourselves to others. I think a photographer is egocentric but also very shy.

    Posted on

    INTERVIEW WITH … ARTURO CAÑEDO

    RESEARCHED BY ROBERTA PASTORE

    How important is photography for you? Would you have imagined a few years ago that this passion would have played such an important role in your life today?

    Photography was important for me since I was a child, when I left school my desire was to be a cinematographic film director, but in the 90s in Peru the economic crisis changed the course and dream of many young people who, like me, changed their profession to help to their families; I studied economics and dedicated myself to it for many years. More than 10 years ago I resigned my position in a management in a banking institution to resume my photographic career, not in cinema, but as a documentary photographer. The economy and photography got together.

    Who are the photographers that inspire you or have inspired you in your photographic work?

    It is not only the great classic photographers of world documentary photography that have inspired or motivated me. To be honest, inspiration comes from everything that surrounds me, music, literature, photography in all its genres, design, cinema, poetry, my family, traditions, my culture, my country. , my food, etc., all this plays an important role when reproducing an image in your brain, an image full of emotion, feeling, aesthetic and that you always try to reproduce. It would be ungrateful and unfair to mention only some excellent photographers, more and more great artists appear that inspire you in one way or another.

    DOWTOWN LIMA Proyecto de Arturo Cañedo

    Are you Interested in deepening your passion with readings and studies on culture and photographic language?

    Totally, for 5 years I have been developing a photographic project based on the population of the capital of Peru, it is called DOWNTOWN LIMA. The objective of this project is to portray from my point of view the character of my city using different photographic and lighting techniques. Therefore, documenting me is absolutely essential and important.

    Taking a shot in the street can sometimes be difficult, dealing with people’s reaction is not always easy. What is your approach with the camera when you find yourself photographing strangers on the street?

    The key word to this question is RESPECT, and this value is something that I not only have to say or manifest, but I have to prove it even in a corporal way. The people around us feel when you respect their space and it is at that precise moment that the doors of their world open for you.

    In recent years, Street Photography has boomed, what do you think it’s due to? And what evolution has there been?

    Definitely this photographic current has increased and the evolution of the internet through networks is one of the sources of this growth. The speed and immediacy of them, from my point of view, are not the best ingredients for an evolution within the aesthetic and language parameters that we are used to. We are enjoying a new language, a new way of showing photography, but like any process this tends to develop, improve and change.

    Which subjects, both as people and places, inspire you more and urge you to look for the shot, or do you think better represent this city?

    As part of being a documentary photographer, the elaboration of projects where the structure of themes is essential, in the case of my DOWNTOWN LIMA project, the relationship between the place and the subject is what denotes my work and the connotative theme the use of technical lighting and development respectively

    What, then, makes a street photo effective? Can you quickly recognize the details that can make a good photo out of a simple shot?

    I am convinced that the internalized knowledge of camera management as well as the exposure and photographic composition are the basis for our shooting decision to be correct within what we consider correct. Finding the different, intriguing, strange, interesting, outstanding, etc., are aspects totally foreign to the knowledge or not of the camera and technical management. Experience directly influences our ability to see and look at these aspects.

    Is there something unique about street photography that differentiates it from other genres?

    Definitely the ability to find control in the chaos is what, personally, I am more and more passionate about street photography.

    In a street picture, do you think the contrasts of light are important to tell a story or are just an aesthetic fact?

    In Lima, my hometown, I teach personalized photo seminars, about camera management and photographic composition, and also as an introduction to the photographic language. The latter indicates that when one is taking a photo, all the technical and composition related resources, that can help to denote and connote an image, must be used in order to make as rich as possible. So, I believe that it is not only the contrast of lights (very fashionable today in groups and on social networks) that should be used to produce a beautiful image.

    Which are the limits of ethics in a street picture, or is it possible to shoot everything?

    The ethics of people is a function of the level of values they have. For me, within my values and ethics, I have a limit, which may be different from others. Respect is my main tool that tells me how far I should go.

    Your street photography is extremely focused on the portrait. What do you look for in the face of a potential subject, what are the characteristics that move you to take a photo and, in your opinion, which is the characteristic that a good street portrait must have?

    My DOWNTOWN LIMA project is based on people and on the relationships and interactions they have with the surrounding environment and the urban space. It is essential for me to focus on the foreground or on the close-up view, with the use of wide-angle lenses for a correct composition of the subject, the environment and the situation experienced by it with naturalness and spontaneity, trying not to interfere too much by capturing it as quickly as possible.

    What reaction do your subjects have once photographed? Do you happen to interact with them?

    I always interact with my surroundings, in such a way that I become part of them, otherwise it would be very complicated to obtain images with the type of photographic technique that I use.

    What kind of camera do you use and which focal point do you prefer for your work and why?

    The camera and the focal point are determined by my project, for the case at this stage of DOWNTOWN LIMA, I use my APS-C camera and a 24mm as well as my flash.

    Has street photography, as a genre, developed in you the ability to photograph in any light condition and to interpret everyday life situations with an appealing vision?

    In my workshops I always mention that street photography is the best method of study for any type of photography. By the way, I take my photography workshops in the street.

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