26 October 2010
17 October 2010
14 October 2010
Yesterday Ricardo brought his Large Format camera to the lab. We took a 24x18 RC paper and placed it in the negative holder. Four minutes of exposure at f4.5 gave a dark negative print. This is the positive image from the digitalized negative. After this session we were happy like small kids. Can you blame us?
07 October 2010
30 September 2010
27 September 2010
19 September 2010
30 August 2010
25 August 2010
“Set against a backdrop of poverty, crime, and the hemisphere’s longest running civil war, nowhere are the contests more ubiquitous and revered than in Colombia. In these carefully scripted shows of fantasy, beauty as a concept, commodity and singular goal is stripped to its raw elements. There is no ambiguity or pretense that anything else matters.
The queens are celebrities. Many of the roughly 400 contests a year can shut down a small town for days as thousands jam plazas and parade routes for a glimpse of them. Icons of a rigidly defined ideal, the contestants highlight the conflated relationship between beauty and attraction. Many of them seem familiar, stirring recollections of the same perfect features seen elsewhere, along with the identical flirtatious laughter, mock surprise and relentless optimism. In their quest for adoration, they erase all traces of individuality.”
Carl Bower’s website.
06 August 2010
03 August 2010
27 July 2010
25 July 2010
It is been a while since I do not post here. Time constraints along with the fact that I am in serious need for some vacations are the main reasons. However, another reason was preventing me to post more often. I was able to get a space to assemble my own printing lab. It is a small space but has an interior room, a living-room/kitchen and a bathroom with a shower cabinet, and best of all: is near my house. It’s perfect. I’ve painted the interior room mostly in white (matt); the part where the enlargers will be placed (about 1/3) was painted black.
The installation is still temporary; in the second semester I am planning to have something more permanent, including two workstations.
Some pictures to show you (taken with my mobile so ignore the low quality):
The enlarger (Opemus) with two safety lights (for now placed on the table), all the necessary accessories and a fan (Portugal weather); you can see the black background.
Here you can see the white and black paintings; I have decided to not paint all the room in black because that would decrease the lighting capacity of the safety lights.
Because I want to have low start-up and wrap-up times, the trays are covered with wood panels to prevent evaporation and oxidation; this way I just need to remove and place the panels which takes less time than transferring the chemical between the trays and the recipients. Let’s see if this works. This is the part where I realize that I am not young anymore; I definitively need to have a table there.
This is the shower cabinet. I bought a smaller shower cabinet floor to use as a washing tank; it is built with a polymer which makes it lighter and cheaper; my next challenge, to place it higher.
Finally, my first print being washed; 24x18 FB paper of a street scene needing some serious mask for the sky.
I’ll post more pictures when a more definitive installation is set up.
I want to thank Ricardo Canelas and Cristina for all the support.
14 June 2010
12 June 2010
30 May 2010
09 May 2010
02 May 2010
18 April 2010
15 April 2010
What happens when an entire city collapses beneath water and the most absolute despair? More significantly, what happens to that same city after such catastrophe? Ricardo Canelas takes us there in the eyes of a spectator that most of the times seems invisible and inconsequent to the routine life of the inhabitants. Resigned, people seem to live holding times, probably still surprised for what happened, perhaps profoundly tired. Canelas carefully composed a vanitas in a form of a photographic set for our own abandonment.
Ricardo Canelas’ website.
12 April 2010
11 April 2010
This body of work results from an interpretation, using Photography, of the creative process involved in staging Shakespeare’s play “Richard III” by Grupo de Teatro de Letras, directed by Avila Costa. Like Power itself, Richard also attracts the audience to the machiavellian swirl of conspiracy through his monologues. In those moments Richard shares the stage with his thoughts and the latter with our curiosity for a certain evilness for conquest. Richard mirrors us. Once set, we start finding Richard in all the other characters and a sense of claustrophobia emerges from this play.
Building such plot is made with masks after deconstructing the perception of an individual of that staging. Words group together into sentences, that break into lines which will need the actor to be in the zone. The actor is an interpreter and carries the immense responsibility of showing it to us, without the safety net of writing, canvas or photographic paper, developed and fixed. Through photography and exposing the result in an almost chronological fashion, a history is built remaining necessarily incomplete. Stage tension is transmuted in the suspension of the bodies in the paper and the masks are crystallized in the only context delivered by the photographic subject. In the end, the work exhibited tries to be as timeless as the play itself, not because there is an implication but because of the play subject on its own.
Thanks to: Avila Costa for the opportunity and availability, to the actors in GTL for the cooperation (Andre Canario, Andre Pardal, Bruno Matay, Carolina Rocha, Catarina Salgueiro, Claudia Pinto, Isabel Martins, Ivo Santos, Joana Araujo, Joana Lima, Joana Campelo, Jorge Albuquerque, Jorge Completo, Mariana Vieira, Marisa Russo, Miriam Vieira, Monica Carrusca, Raquel Cipriano), Joao Figueiredo Dias for the support and logistics, Flavio Nunes for the videos, Nucleo Arte Fotografica for the opportunities it allow, Mafra Municipality for the space, Pedro Ramos for the availability and strong commitment, and Cristina for being there always.
10 April 2010
"There is no demagogy or easy transient here: there is the patient and passionate search from the one who lives in the night. The result is a different look: the night is not autonomous in it’s own space, unsuspected horizons are now overcome, characters that are not waste of the daylight come to live; they live by those hours their moment of existence (…)”
Translated from the online book store here.
07 April 2010
26 March 2010
“Past Tuesday, after being beaten by an older student, 12 years old Leandro Pires runaway from school and jumped to Tua river, in Mirandela (Portugal). Twin brother and cousins tried to stop him but with no success. Leandro Filipe Pires, living in Mirandela was a victim of bullying”
24 March 2010
21 March 2010
“ISRAELI WOMEN is a photo-poem in developing stages about western woman in the modern cultural climate; a dialogue between the phenomena and the abstract feminine essence. The project is not a candid documentary work uncovering the phenomena through personal stories. In fact, my sitters are Personages – synthesis of their authentic characteristics and thematically attributed narratives.”
08 March 2010
26 February 2010
15 February 2010
14 February 2010
“Jorge Molder’s photography arises from the changes that these ‘imagined and perfect characters’ delimit in our physical being. They arise from a visual perception that allows for ‘obscure visions’ and establishes the instinctive realization on an independent reality. Independent from the private intensities of people (…). This is the light, at least, this is the light of a Gloomy Day. (…)”
03 February 2010
02 February 2010
31 January 2010
“This series uses as its base tales in which young girls and old women appear, such as the fairy tales of the Brothers Grimm and the short story Erendira by Gabriel García Márquez. (…) Fairy Tale consists of black-and-white photographs made in an orthodox way (…). Here, girls play both young and old roles by means of special effects makeup in strange, closed-off indoor settings that are at the same time internal landscapes from the artist's own psyche, as well as a world of metaphors and symbols that goes beyond Yanagi's own vision in a way that makes these images worthy of the appellation “fairy tale.” By no means are these images mere illustrations of the fairy tales on which they are based; they are the unique creations of the artist Miwa Yanagi which are sure to capture the imagination of all those who view them.
18 January 2010
16 January 2010
“What takes a newly graduated doctor to abandon Portugal and go to Paris? Disappointed with the situation in Portugal, regretting the choice of degree or the courage to runaway with his lover, the photography?
This runway starts in 1982 and will last to 1984, the period use by the young doctor to remain in Paris chasing Portuguese emigrants, searching for a set of images that could witness and deliver social understanding about them.
Intense months. Magnum Agency was supervising the work. (…) Never before a Portuguese photographer had this chance.”
Translated from a text written by Luiz Carvalho (the complete version, in portuguese can be found here).
Currently being exhibited at K Galeria, Lisbon.