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- BITTER SWEET SWEAT

This work was published by the Fondo de Cultura Economica in Mexico in 1985 and has been considered an important reference in Latin American photography in recent years. a photographer Miguel Rio Branco Magnum and " Bitter Sweet Sweat" was his first book, also published: NAKT, Silent Book and the Douleur Plaisir

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" What is revealed, however, in the pictures of Rio Branco, Brazil is another, that of the interior, from the depths of the country where sunshine, generous, it spreads, but power to illuminate a dark environment for centuries, sad, hopeless, where he lives - or vegetable? - a people known abandoned by God and the rulers . "
(www.letraslibres.com)

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"For me art is to first have a say from the inside and that has nothing to do with the description of reality, reality being just the material that the camera captures. To this question I must say that I focus on the images you want to show and not necessarily where I want to see. I think images that, when interacting with others in specific buildings, make sense, create rhythms and bring emotions to the surface. "

" I was never aware of the great names in photography until 1974 when they were like 6 years to use the photo as my principal means. I lived in New York from 70 to 72 and never saw a photo exhibit, I moved between artists and movie people, so my influences came definitely from painting and film (...) the frame came from the camera and film as the failure to cut the box in the enlarger and the fact the lack of vertical shots. "

"From the beginning I have always related painting with photography. The drawing was found in the collage. The photograph was found with the film. The music and poetry. The poetry assembly. All these meetings are part of many junctions in the path of understanding and expressing myself in relation to the world "

" My photographic style is basically a non-linear style that relies heavily on the construction of images , the links created poetic images and not with a linear aspect of framing and use of light and color. "

" When I see my color now, does not seem very colorful, lots of pictures were monochrome with some red and some blue times, never the full rainbow. Something that emerges is that there is a dramatic use of color and that is closely related to my background as a painter "


" My work has little connection with the skin, because it is the surface that we connected with this world, both in pleasure and in pain. She is a dialogue between outside and inside, a separation while a connection "

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here book

www.bookfinder.com/dir/i/Miguel_Rio_Branco/0893818011/

here about the photographer: www.magnumphotos.com

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María Inés Armesto

This image is my first approach to a series I'm starting to work: beauty salons and academies. It is an area that fascinates me the visuals and it challenges me and who does not like things, contains philosophical questions (What is beauty? What is beauty?) And the symbolic universe (what is beautiful? Why who?)

I chose this picture because it has a very peculiar reading: does not show decisive action to draw attention and its composition does not allow immediate apprehension but we need time exploring it. It is a portrait of a woman who, for framing and contrast, not the first thing we see. It is a portrait of a dead time in a hair salon

Opera buffa Il Campanello, Teatro Nacional Sucre - April 2005

will I enjoy both in the chair, I choose to photograph what happens before The curtain opens. This sort of para-scene preparations resulting from for the "moment of truth", not only retains the ability to fascinate you have the staging but, to show his backhand and spelling tricks, make the theater something even more magical.

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10 ideas and an epilogue on documentary photography * readings

by Armando Salazar Larrea

The following ideas are written with the intention to differentiate the practice of other documentary photographic practices relating to the registration and the evidence of the real.

photo: Marc Riboud - Beijing 1965

1. documentary photography not sensational. Add to emphasize the fact without explicit drama, that the most direct away from photojournalism. In itself, documentary photography is not an instrument of denunciation, but a way of giving to see and think.

2. It is a silent search of accessions, of solidarity, coexistence with other people's lives. Photojournalism sometimes takes us away from what we show, the drama seems to say " this happens to you no " so it does not generate empathy but relief. The photo documentary also tries to see life and rethink.

3. Not only informs but moved because attempts listening on the emotions of the characters portrayed. Is one that by showing a fact of life, makes us feel something about human existence and order a little of our knowledge and apprehension of the world.

4. There is an image that attempt to explain "all" of the fact, that's a wild goose chase, it's just a piece of independent living, a time of life full of emotion.

5. It is photography, reflecting a temperament photographing. Through it one can perceive the priorities of the photographer, his whole being is involved. But not only a temper but also context and culture . The photo documentary reveals a dialogue between the context of the photographer and the photographed.

6. Not interested in the ephemeral and the enduring but the news everyday. So a documentary image takes longer to find and create in the company of intimacy, not in its penetration and rape. Sebastiao Salgado and Josef Koudelka quite aware of this.

7. always put at the service of documenting , directing its form as its content. It is an image with an artistic nature by the presence of the author and the formal values \u200b\u200bof the photographic medium, but without the restrictions of art based on the formalism of the autonomy of form in front of the represented.

8. It is a type of photography that reveals an attitude of constant questioning visible, search for clues about the workings of life, wanting to understand what is between the people and find out with the camera placed in bonds and forces invisible.

9. Search find the meaning of the moment portrayed and put into perspective of human existence in this search is open to the interpretation of the beholder, is not an image one way.

10. It is a political act . On the subject he chooses, by respect for him and put in conflict with the superficial image of the world that most images that surround us poses.

Photo: Robert Frank - The Americans - 1956

Finally, an image is low and needs to dig a bit to find it: appears on the web, in books or a magazine, not we see in the streets or in newspapers or on the walls of the galleries or myspace.com. Belongs to a marginal, not very commercial and with little hope of becoming something more, but is just this difficult nature of being both eyes and showed the author that has been protected from being devoured by the system . Its existence, besides the massive, seems assured for now and could only vanish if we fail to constantly question what I see and what does not see?, whose voices portrait, how the picture?, "is anything to my photos?, do I have its own view?. In fact the photo documentary photography is to create not only images but all the time to doubt what he's doing. (ASL)

* Text originally published in THE OTHER FILM No.5-May 2008
Publication of Meetings of the Other Cinema,
International Documentary Film Festival

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photo - Night MAGNUM

Another opportunity for further dialogue on
photography
An event of The Image and the Foundation has Paradocs

The famous photo agency have taken their space MAGNUM IN MOTION a selection of video clips with works of some of their photographers to Project it on the big screen and open to the public conversation about the profession of photography.

PLACE: THIS CAFE "La Mariscal"
WEDNESDAY, May 7 - 20:00 - NO COVER

"Magnum is a community of thought, quality shared human and curiosity about what happens in the world,
of respect for what is happening and a desire to transcribe it visually "

(Henri Cartier-Bresson)

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MAGNUM PHOTOGRAPHERS

"If I'm looking for some background history, this is given in my relationship with the subject ,
is the story that gives me, not me to it " (Bruce Davidson)

" The camera is an excuse to be in a place that does not belong.
gives me a point of connection and separation at a time " (Susan Meiselas)

"The photographer is full of doubt, nothing calm"
(Raymond Depardon)

"I'm more interested in a photograph that is not" finished ", a photography that is suggestive and can trigger
a conversation or a dialogue. There are pictures that are closed, finished, to which there is no way in. "
(Paolo Pellegrin)