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INTERVIEW WITH…DARAS BAREYA

Researched by Raffaele Montepaone

DARAS BAREYA

Bareya Wystawa

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When did you start a passion for the photography?

I deal with photography since April 2013. Right then it all began.
When somebody does not believe me, I say: my artistic education helps me in doing photographs. It’s very likely.

What was your first camera?

The first camera I had was Yashica 108 MP, practically it wasn’t used at all. So the first, which I took pictures with quite regularly was Canon G5.

Since 2014 I use Fuji X-E1

Bareya Zwierzeta domowe

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Bareya Sprzatacz

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

Photography for me is an attempt to tell short stories about events emerging from the light, it is searching the light.
Each walk out on the street is for me an invitation to coincidence.
And just between us I don’t like to intellectualize, I just roam around the city and snap pictures.

And what should not be instead?
A nice picture in a frame.

Bareya Three

Bareya Rondo

Bareya Przystanek autobusowy w sloncu

Which masters of photography inspires you?

Sebastiao Salgado, Steve McCurry, Anders Petersen, Stephan Vanfleteren, Lee-Jeffries, Tatsuo Suzuki, Satoki Nagata and more and more.
I prefer gloomy photographers than jesters.

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

There are many, one of which may be photo by Dennis Stock – Louis Armstrong sitting alone in a room before the concert. It is a story for the whole movie contained in a single frame.
The essence of photography, a little form and a lot of content.

Bareya Public television

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What is your favorite technique?
I walk around the city very slowly and look around, I do not use a tripod or zoom lenses, I like to get close the people to catch the eye contact, but generally I am a voyeur lurking at the side.
Sometimes I know that I need to turn in the particular street because there should be place, where I could find something interesting. I do not know how I know that.
During the stopover, when I smoke a cigarette, I wait for an internal signal where I have to go and there I go. Complete chaos and chance.
Although sometimes I can take the tram and go to town when a huge storm starts over the city.
Until now, I did not use flash because I did not know that somebody can do such a fantastic photos as Satoki Nagata and Tatsuo Suzuki.

Why do street photography?

Because it is the most difficult … Ha ha ha. On the street you can find everything. Feelings, emotions, sociology, light, portraits, stories, love, hate, sadness – a real genuine “Matrix”.
The street doesn’t pose. This is chaos of which I am element of and I like to be.

Bareya night tram

Bareya Mis

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

Homeless alcoholic on the background with the crucifix. And there are no subtext. There is only sadness flowing from suffering. I have very emotional relationship with this picture .
I would say that this is my self-portrait of the recent past. That’s it.

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

Good. First of all, I smile like a lunatic with a bald head which may raise suspicions that I am a patient a psychiatric institution that got a permit to visit the city.
So generally I have peace of mind. The most important is serenity. You will often get the same in return.

Bareya Bezdomny Fordon

Bareya Fotograf analogowy2

INTERVIEW WITH…Emilio Barillaro

Researched by Roberta Pastore

EMILIO BARILLARO

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Going back in time, how did your passion for photography and how you facing in the professional world?

Was born in a very random fashion . During Christmas time of a few years ago I found under the tree an SLR and since then I have spent every day of my life studiyng, experimenting and learning everything about this world. I’m just made like that… if something I’m passionate about I have to learn everything that concerns it. Lately I was slightly slowing down the studio and I was almost exclusively devoted to my projects , when my friend Francesco Costantini (professional tempting devil), forced me to get back to studying opening a new world in front of my eyes: that of analogue photography . A few days ago I made ​​my first print in the darkroom and now I will have to spend the next years learning everything on this topic . Damn him … As for the second part of the question I do not have much to say because I’m not a professional , though I have occasionally done some work on commission, but a person who is simply have a lot of fun.

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 How do you manage the use of color and b / w in your photos?

At the beginning of my journey was obviously a 360 degree research; Therefore, I alternated color and  black and white constantly. Slowly and naturally I’ve preferred more black and white; today the color in my mind does not even exist. The world for me become in black and white, and also my images become more “dirty” over time.

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What type of machine you use to shoot?

In digital I’m shooting with a FujiFilm X100S and in analog with an Olympus Mju II. Two small, quiet, and with excellent quality cameras that I always carry with me.

When you take, you have an image in mind?

Projects the finished image before the implementation or your pictures are the result of a reflection in post-production?

If I had to plan my shots I would not be a photographer. I would not have fun at all because I would miss what I think makes the photograph fascinating and intriguing: the unexpected. I only snap candid shots. What I’m trying to do in the last period of time, is thiking not only on single shots but on projects (though perhaps, as shots are not planned, it would be more correct to call them “series”), in which I give myself a theme and then try to find situations / moments that they can feel good inside this theme. When I feel inside me that that project is finished, I do a rigorous selection and try to put the shots in a sequence.

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What determines the success or failure of a photo?

For the approach that I use the success is determined by the meeting of three factors: eye, readiness and opportunity. But this is not always sufficient, because a picture has to be also a good composition and above all a content that conveys something to the beholder. Whatever it may be, from the most positive to the most negative.

 What training did you follow? Who inspired you?

I am a self-taught but I have attended some workshops, among which the most important for me was the one held by Joel Meyerowitz at Cortona On The Move Festival  last year. My main inspiration is Trent Parke, my absolute favorite photographer. Obviously there is not only him but many other great masters such as Lee Friedlander, Anders Petersen, Mark Cohen, Robert Frank …

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