1 – Tell us a little about your background on photography and how was your learning and development in this field?
My relationship with photography always has being very casual. It wasn’t part of my life before, although I always had one foot on my artistic side, unlike many of my relatives who are in the exact area, for example. I believe we are an aggregate of what we learn. See, during my childhood and adolescence I liked to draw characters from cartoons and video games. But stopped with it in adolescence. The style of drawing I’ve ever had, it was in black and white and always working to include the shadows contrast, dramatic.
I always liked to see observe images, like anyone. Then for some random reason in 2011, I decided to buy a DSLR as an experiment. Like any beginner, I did not even know how fit the lens on the camera at all. I photographed patiently and when it was appropriate. The theory I learned in the internet; there is no excuse nowadays, everything is on the Internet. When I had questions, talking to two friends about it. And it was automatic.
Explored different types of photography: events, night photography, nature … until I decided to leave for the most made me Performed pictures.
What I learned of truth and always carry with me as unparalleled value is the experience I gained by going to workshops. There you have to be physically witness to absorb everything they pass. They are always fortuitous encounters that feed the soul. I think you have to walk with the mind always open to new knowledge. I have had to destroy some taboos on certain types of tests and have been trying to make a way that is more authentic, you know?
2- What was your main motivation to choose the theme “female portraits” as your main focus?
I always liked to enjoy female portraits. Details such as the eye, hand positions, posture … are small details that delight me. As the statues of old age. They are so beautiful and yet so fragile. Besides that women express their feelings in a unique way. And, if you like it or not, these things run through to the pictures.
3 – Discuss the importance of the direction in a portrait session. How you conduct this process?
I try to conduct the test in the most natural way possible. At the beginning it is always difficult because you need to create a chemical to the session works. So what I most care about is to act as there is no camera at all. If necessary, I spend a lot of time just talking without even wielding the camera. I believe that the camera is just a tool, like the brush is for painting. What really matters in a test is the interaction between those who are both in front and behind the camera. So I try to make the person comfortable to be able to build certain poses from the way she physically expressed. I am very skeptical about the concept of pose, because of the impression that something is cast, a pose that applies universally. Well, not so. People are different, have different reactions and movements, and that’s what I try to get them.
4 – How would you characterize your photo? What are your inspirations and references?
As I said before, I used to draw. And I’d always liked for drawing black and white, always emphasizing the use of shadow to create volume and contrast.
It also has inspiration in music, usually sad letters. I get a lot of inspiration comes from sadness, loneliness. I think that the ideas flow better in the loneliness moments . I really like this harmony of opposite feelings, such as happiness / sadness, movement / static, raw / delicate …
And besides cinema, of course, seek inspiration in the paintings, especially the Baroque era. There are also contemporary painters I admire very much and always inspire me. As I said, on the Internet you think of anything, just looking.
5 – What is your gear? And how your equipment helps you to get the desired final results in your images.
I own a Fujifilm X-T1 and lens 35mm 1.4 and 56mm 1.2. I moved to Fuji precisely because of the color fidelity, as it captures the skin (which is what bothers me in most of the images). Also the distinction of tones, is something truly magnificent. I try to do 80% or more on camera JPEG. I have less edited the photos, so I photograph in JPEG + RAW and have enjoyed the results in JPEG. In some cases, more than the result that would obtain the RAW editing.
6 – What advice would you give to a photographer or a photographer who wants to specialize in female portraits?
I do not usually give advice, but I’ve learned that you need to be very delicate when dealing with female portraits. It is far beyond what draw graphically beautiful images. It’s being polite, always worrying about her welfare first and foremost. I believe that when you work with people, you have to be like that. As well as being very communicative, talk as much as possible and not hide behind the viewfinder.