© Héctor Carballo
Issue No. 1 / April, 2011
CONTENT 06
20
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NATIVE GLAMOUR An Ancestral Crop from Sicán World Photography and Text by Rocío Figueroa
ONE CENTURY OF PHOTOGRAPHIC ADVENTURE Images of Inca Trail to Machu Picchu Photography and Text by Papi Johnson
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PURPLE WORSHIP IN B / W Gathering Together with People of Colonial Tradition Photography and Text by Rocío Figueroa / Héctor Carballo
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CHILDREN OF BELÉN Portraits in a Flooded Neighborhood in Iquitos Photography and Text by Héctor Carballo
FRONT COVER PHOTO: MACHU PICCHU. (Image converted into black and white.) “I arrived in with my first digital camera, the legendary CANON EOS 10D. It was an unscheduled trip in search of Leonardo DiCaprio. Suddenly I came upon this, such music to my eyes. It has been more than 7 years since this capture.” Héctor Carballo
STAFF Héctor Carballo Editor in Chief/ Art, Design, Photography and Text tupacarballo65@gmail.com
Argentine Journalist. Clarín (Argentina). TeVeO / Text Editor, Vea y Lea Magazine / Editor, Zeta /Director, ABC Color, Noticias, Mil and Ñanduty Radio Stations (Paraguay). Based in Osorno, Chile.
Lic. Rocío Figueroa Bilingual Edition
©Rocío Figueroa
Uruguayan - Argentine International Photojournalist. UPI, Agence France Presse, Sipa Press Agency (France), The New York Times, The Times London. TELAM Agency, Noticias Argentinas, Editorial Atlántida (Argentine). La Nación Daily / Editor (Paraguay). El Gráfico-Perú Magazine, La República Daily / Editor (Perú) Director – BioAtelier Photography Agency Based in Lima, Perú
Gino Muñoz Writer sesion24@hotmail.com ©Héctor Carballo
Hugo Medrano Content Editor medrano.hugo@gmail.com
© Marisol Parada Cifuentes
Peruvian Degree and License in History. M.A. Studies in Environmental Development (Pontificia Universidad Católica del Perú) Photographer Director – BioAtelier Photography Agency Based in Lima, Perú.
©Héctor Carballo
Lic. Rocío Figueroa Editor in Chief / Art, Design, Photography and Text rfigueroa@bioatelier.com
Alexis Alemán Layout
Peruvian Journalist (Universidad Peruana de Ciencias Aplicadas). La República Daily, La Primera Daily, El Gráfico-Perú Magazine, Depor Daily, Perú.com, TV Channel 5, Ovación Radio Station Website. Based in Lima, Perú.
Contributing Photographer Papi Johnson Professional Photographer |3
W
e are glad to share with you our first digital media experience. Inspiring your senses in the era of Internet becomes our juicybig-goal. photography
&
travel
speaks of Peru. We merge the passion for biological, ethnic, cultural diversity into a gourmet photographic atelier. If there is a place worldwide where diversity is the spice of life and a feast for the senses, this place is Peru. Renowned as one of the main megadiverse spots in the world, Peru belongs to a region,
called the Tropical Andes, with more than 5,000 years of natural and cultural history. Traveling across The Andes rugged mountain range tells everything. Photography and travel are the perfect matching. The magical trio comprising sensor sensitivity, shutter speed, lens aperture calls for amusement. Weather, light, temperature, reliefs... are waiting for us. Photography focused on local traditions, life out on the street, environmental awareness, nature, just to mention some, finds in Peru a place to overflow itself.
The first issue, Spanish and English version, depicts Peru based on four photographic getaways which illustrate each of its four stages of cultural development: pre-Columbian (pre-Inca and Inca), Colonial and Republican to the present time. Pre-Columbian heritage circuit in the North Coast takes you to the “Historical Sanctuary of Pómac Forest”, the cradle of Sicán culture. In situ photographic findings of ancient crops, such as the native cotton, show off stunning phases of growth.
Editor’s All contents copyrights © 2011 The contents of this magazine may not be reproduced in whole or in part, in digital or print, without permission of the publisher. photography & travel is published by photography agency 00511-4467835 Lima - Perú
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Note An expedition to the Inca world: the Inca Trail to Machu Picchu celebrates not only one century of scientific exploration by archaeologist Hiram Bingham in 1911, but one hundred years of photographic recording for world history. View the gallery of a passionate one for photography, Papi Johnson, a mutual friendship arose out of a bit of chance and a lot of curiosity for cameras. Documentary photographs of a Christian tradition dating from the 17th century: the procession of the Lord of Miracles meets 360 years. We gathered
together with the faithful of colonial tradition, a living culture experience in Lima in the 21st century.
the world, from different interpretations of life, showing Peru. This is a magazine and an image bank on Peru.
Last but not least, a glance at the vulnerable urban Amazonia. The children of Belén compromised on their daily life survival on the border of Itaya River.
We are a team of good friends delighted by light and words. Our motivation is to put some sparkle into your adventurous side for traveling across Peru with your camera in hand.
photography
&
travel
shares the idea that photography is enriched not only by achieving correct exposure, but to have its unique soul. It is then our commitment to sum up experiences with artists, like you, from around
Welcome! Rocío Figueroa / Héctor Carballo bioatelier@bioatelier.com
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glamour
PHOTOGRAPHY AND TEXT © Rocío Figueroa
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Canon EOS 7D 70mm ISO 320 1 / 50 f/13 Minimum focus distance of 20cm
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NATURE PHOTOGRAPHY GETAWAY Location: POMA III, Pítipo District, Department of Lambayeque, North Coast of Peru. Month: May
Carrying our lens Sigma 17-70mm 1:2.8-4.5 DC MACRO, we immersed ourselves in the natural and cultural reserve, named the “Historical Sanctuary of Pómac Forest”, cradle of Sicán culture (VIII - XIV AD), a unique sample of the Equatorial Dry Forest Ecosystem. The species Gossypium Babardense bears witness of such pre-Inca world. The cotton, a “brownish” one, emerged in the Peruvian prehistoric times. People used its fiber for glamorous textiles which archaeologists found inside the “Lord of Sicán” tomb. We came across it in Poma III, a small rural community, in the buffer zone of the reserve. Exquisite and enchanting lifestyle preserved by farmers and artisans for years. Among other species of native crops, here they live together with custard apples, loches, pacaes sheltered from the forest of carob trees.
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APRIL - SEPTEMBER
Preinca
3500 bc
0
1450 ad
Inca
OCTOBER - MARCH
1533
colony
1821
Republic
Source: SERNANP
+ Information: www.sernanp.gob.pe
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dry forest The forest survives by groundwater renewal from heavy rainfall occurred every event of El Ni単o phenomenon. At present, nature contribution is crucial because the Peruvian Coast is a strip of arid and barren land with hardly an inch of rain per year. Peel-off texture and color, their trunks twisted forms, the carob trees tempt you to keep your finger on the trigger of the camera.
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In the northern coast of Peru, harsh wind is a faithful companion. To fight against it does not bode well. Waiting for calm weather to shot is wise; most of all, when using the lens minimum focus distance. Also raising the shutter speed helped us to counteract the movement of flowers and cotton swabs.
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We were seduced by a cotton capsule that lodges silky fibers. It is one of the unique botanical samples by which Peru is considered an ancient and most complete center of domestication of plants. Either travel photographers or botanical explorers can find here, among the archaeological sites of the Sicรกn culture, vestiges of an original culture of the Peruvian Coast.
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In 1534, first Spanish chroniclers described to their great surprise large fields of native cotton swabs along the Peruvian coast, from Tumbes to Chincha. Today, similar landscape is impossible to be appreciated by travelers.
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CANON EOS 7D 70mm ISO 320 1/800 f/4.5
gossypium barbadense
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After walking through the most peculiar spots in the P贸mac Forest, we met Saturnina LLantop, an expert in Moche back strap loom weaving and native cotton fiber clothing design. The preservation of local traditions in the rural community of Poma III goes hand in hand with the conservation of native species. They are interdependent. If one fails, so will the other. Part of the photographic gallery was exhibited in Paris, France, at ETHICAL FASHION SHOW 2010. It is an annual event focused on the revalue and the promotion of natural fibers in the fashion industry.
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One
Century of photographic adventure
INCA TRAIL TO MACHU PICCHU
CANON EOS 7D 12 mm ISO 640 1 / 500 f/ 8
photography & text: Š papi johnson
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PAPI JOHNSON CONTACT: 2snares@gmail.com PHOTOGRAPHIC GALLERY http://www.imagekind.com/MemberProfile.aspx?MID=624640f9-ca57-484f-a08c-1b46491b7d5d
ARCHAEOLOGICAL PHOTOGRAPHIC CIRCUIT Kick-off: Piscacucho - Kilometer 82 Location: Cusco Month: November
Nearly four months have passed since I hiked the Inca Trail to Machu Picchu. It will take a lifetime for me to forget the experience... My first day of photography on the Inca Trail started at 8:30 a.m. on November 10, 2010. After a four hour bus ride from Cusco, I was checking my gear in with the porters at Kilometer 82 of the Cusco – Machu Picchu railroad that leads to Aguas Calientes. The porters (eleven in all) would be collectively carrying over 1000 pounds of gear and food, supporting our four day hike on the Inca Trail. My guide, Eric Santiago, had hiked the trail more than 500 times and was working for a company based in Spain called 'Enigma'. I had read several 'travel-guide' books before visiting Peru. I also consulted with other photographers that had been to Peru. The combined 'advice' was priceless. First and foremost, prepare for rain. Regardless of the time of year, prepare for rain. I brought my Canon 7D on this trip and it is not 'weather friendly'. There are not any 'exposure' seals on the 7D and moisture (rain) will destroy the camera. I carried a one-gallon plastic ziploc bag in my shooting vest. I also carried a waterproof cover for my backpack. These two considerations saved my equipment over and over again during my four days on the Inca Trail. I carried 16 memory sticks (4 - 16 GB and 12 - 4 GB) and three lenses with me. On the camera was a Wide F 2.8 17 - 55 mm. This lens was my mainstay throughout the four days. In my pack was a Macro F 2.8 100 mm and a Fish-eye F 3.5 12 mm. I never pulled the Macro 100 mm out of its protective case and I used the Fish-eye on the fourth day upon reaching Machu Picchu, but I am getting ahead of myself.
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april - september
Preinca
3500 BC
0
1450 AD
Inca
october - march
1533
colony
1821
Republic
Source: SERNANP
+ information:
www.sernanp.gob.pe
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Cusco to Wayllabamba
Day One
My itinerary described the first day of hiking as a 5 to 6 hour hike that would cover 7.4 miles and climb from 8,000 to 9,840 feet of elevation. The reality of Day One was a 10 mile hike that ended 10 hours later at 13,000 feet of elevation. Our guide decided after lunch that pushing further up the trail would put us ahead of everyone else and allow our group 'private time' at the archeological sites along the way. His strategy worked brilliantly.Thirty minutes after I reached our first camp, it started raining. It rained through dinner and continued all night and into the next morning of Day Two.
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Wayllabamba to Pacaymayo
Day Two
My itinerary described the second day of hiking as a 6 to 7 hour hike thatwould cover 6.8 miles and range in elevation from 13,776 to 11,480 feet ofelevation.The reality of Day Two was a 9 mile hike that ended 8 hours later at 12,200 feet of elevation. We left camp on Day Two hiking in the rain. My camera was sealed in the one-gallon ziploc bag and stowed in my backpack with the rain cover intact. Magically, the rain was stopping each time we reached an archeological site! I wasn’t taking this for granted... I was grateful to Pachamama (Mother Earth) The F 2.8 lens was saving my photography. It was overcast, raining, no sun and my pictures were looking great! If I had been using an F 4.5 lens, the stop limitations would have hindered my photographic goals. I had planned to shoot some HD video along the trail, but the unpredictable weather and the ‘hustle’ of our guide’s pace along the Inca Trail prohibited that. I purposely lagged behind into the last position on the trail. This enabled me to get shots of anything that caught my eye without the others from my group in the shots. This strategy alone provided me with pristine shots of all the archaeological sites.
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Day Three Pacaymayo to Wi単aywayna My itinerary described the third day of hiking as an 8 hour hike that would cover 9.9 miles and range in elevation from 12,792 to 8,692 feet of elevation. The reality of Day Three was a 4 mile hike that ended 5 hours later at 8,692 feet of elevation. The extended mileage from Day 1 and Day 2 gave our group a break on Day 3. The only break that wasn't coming was from the rain. It had rained almost constantly through Day 2. We broke camp on the morning of Day 3 to a beautiful sunrise with broken sunlit clouds scattered across the sky in the Cloud Forest.
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CANON EOS 7D 44 mm ISO 400 1 / 500 f/ 8
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Phuyupatamarca archaeological site
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The rain was lighter on Day 3 but intermittent enough to keep the camera in its protective bag and inside my backpack most of the time. The evening of Day 3 our guide approached us during dinner for a group decision. Eric explained that all 500 hikers were in camp and on the morning of Day 4, everyone would be crowded at the entrance gate to Machu Picchu, waiting for its opening at 5:30 am. We had to decide what time we would get up, break camp and hustle to the gate. Our group decided to rise at 3:00 am and be at the gate by 4:30 am.
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Wi単ay Wayna
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Day Four
Wi単ay Wayna to MAchu PicchU
We were approximately three miles from Machu Picchu. Our early rise placed our group of seven behind sixty people. By 5:00 am, there were 400 plus people behind us. To this point, our guide, Eric, had maintained a stern pace but remained patient with my lagging behind for pictures. When the gates to Machu Picchu opened at 5:30 am, we cleared the entrance within fifteen minutes...and then the race began.
Our guide took off at an accelerated pace and I was struggling to keep up with everyone in the group. Eric kept insisting that we hurry up! We had to reach the Sun Gate before anyone else! My camera was in my backpack and the simple task of pulling it out and getting ready to shoot would put at least 50 to 60 people between myself and my group. The people behind me were trying to push by me on the narrow trail. It was un-believable how rude and pushy people were getting. Some portions of the trail had severe exposure and the pushy people were willing to take the inside of the trail and force me to the outside (the edge) where the drop-off was. Un-believable!
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I kept looking off to my right and noticing that the weather was clearing a little and I was missing some nice sun-rays bursting through the clouds. I kept pushing on, keeping up with my group. We reached the Sun Gate and it was nothing but a fog bank! The 60 or so people that had cleared the entrance gate before us were lounging around waiting for the fog to lift. Eric decided that we should head on toward Machu Picchu, which was about a mile further down the trail. We started hiking and I was thoroughly pissed off by now. I had already missed at least 10 great photo-ops and I decided at that point to stop and smell the roses.
I let the group hike away from me. Taking my time, I unpacked my camera, cleaned the lens and started shooting. The night before, I had attached the 12 mm Fish-eye lens. I had planned on shooting HD video of Machu Picchu from the Sun Gate. The fog bank destroyed that idea. There were a number of stone structures along the last mile of the trail and I took my time grabbing a few shots. The reveal of Machu Picchu was a cloudy, gray scene with a mystical touch. The Fish-eye lens gave me nice coverage and I scored a few shots. Even with the F 3.5 limitations of the Fish-eye lens, the Canon 7D enabled me to grab some good color without grain.
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Inca Drawbridge
It was 8: 30 am and Machu Picchu was already filling up with tourists from the train \ bus routes via Aguas Calientes. I found my group waiting for me at the top of the steps that led down to the check in booth. Eric explained that we needed to check in and then he would give the group a 2 hour tour of Machu Picchu. At the check in area, Eric suggested that
everyone use the Baño (bathroom) before heading back up to the massive archeological site of Machu Picchu. I waited near the exit. When Eric finished his business I asked him for my Bus ticket to Aguas Calientes and my Train ticket back to Cusco. He replied, “But I have a two-hour presentation to give you about Machu Picchu.” I told Eric
that I wasn’t interested in what he had to say. Without hesitation he granted my request and said goodby Within the hour, I was at my Hotel in Aguas Calientes. At that point in time, I accepted the fact that I only had a few shots of Machu Picchu and they weren’t great. I was due to take a train to Cusco the following afternoon at 4:00 pm.
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I woke up at 6:00 am the following morning. The skies were blue and I knew where I was going...back to Machu Picchu! After the purchase of another entrance pass and bus ticket, I was standing in the exact same spot as yesterday, with a completely different frame of mind. There wasn't an anxious guide hurrying me through my experience. I was my own guide in a magical place. Pachamama (Mother Earth) had answered my prayers for good weather, she had simply taken her time in doing so.
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Photography and Text: © Rocío Figueroa / Héctor Carballo
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CANON EOS 20D 62mm ISO 400 1/320 f/8
PURPLE
WORSHIP
in
B/W
© Rocío Figueroa
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LIVING CULTURE PHOTOGRAPHY GETAWAY Kick-off: Las Nazarenas Church (LIMA, PERU) Location: Intersection of Tacna Avenue and Huancavelica Jirón, Monserrate Quarter, well-known at the colonial time as Pachacamilla. Month: October
The worship of “Christ of Pachacamilla”, known as “Black Christ”, celebrates 360 year anniversary in 2011, since the image was painted in the small neighborhood of Angolan slaves in 1651. At present, it is known as “The Lord of Miracles” and “Patron Saint of Catholic Religious Spirituality of the Republic of Peru”.
ío © Roc
DAYS OF PROCESSION CIRCUITS
02 Oct 18 Oct 19 Oct 28 01 nov
Oct
APRIL - SEPTEMBER
Preinca
3500 BC
42 |
0
1450 AD
Inca
OCTOBER - MARCH
1533
colony
1821
oa
Figuer
Republic
Ma Sq in uar e
+ information:
Hermandad del Se単or de los Milagros http://www.hsmn-nazarenas.com/
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Cloudy Morning in October To tell our story properly we searched for and made our way up to a colonial balcony, unsteady at its bases, to get our panoramic shot with a CANON 70-200mm lens
Every day in October, Lima has aroma of sahumerio. Neither the purple robes nor the music and chants have that sensorial variety the fusion of incense and myrrh gives off: you smell it, see it, and touch it... As the morning progresses, light changes. The purple crowd is surrounded by a slight fog. Having enjoyed the “blue hour” at our arrival to the proximities of the Church of Las Nazarenas announces to us a religious procession in a special way. The fragrant smoke, added more like a condiment, takes us to an amazing world. Worthy of a “hunter”, who may or may not profess the Catholic Faith, we let ourselves be seduced by the subtleness of cold light and shadows of Lima in spring season.
© Rocío Figueroa
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The challenge is to enter into the protective cord of the anda, a wooden platform which bears the image, to gather together with Brotherhood members: Mayordomo General, cargadores, sahumadoras, cantoras, including first aid crew, musicians. These preliminaries ensure once more an experience of photography life.
Traveling across Peru requires, among other delights, mastering how to photograph religious processions. The procession of “The Lord of Miracles” is a must for all lovers of living culture photography
| 45 © Héctor Carballo
w
two images
At minimum light in the altar of Las Nazarenas Church, high ISO and slow shutter speed, we capture, hand (left). Believers worship the replica (right) in a religious procession through the street (Canon EOS 5D Mark II / Canon Z 46 |
Š HÊctor Carballo
s, one faith
dheld camera, the power of the crucified Christ of Pachacamilla. It is an earthquake proof image ts of Lima. Both images are full of enigmas, as the one of the crossed legs. Zoom 70-200 mm f/2.8) | 47
Faith in a hurry 48 |
© Héctor Carballo
© Rocío Figueroa
Before 6 a.m. believers and members of the Brotherhood get reacquainted with one another. A colonial aroma surrounded us as if the Brotherhood of Pachacamilla from the 17th century came to life again. We walk across Tacna Avenue “stealing” gestures without watching the viewfinder.
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As the procession takes to the streets and the mist intensifies by the incense smoke, the soft light is ideal for capturing their faces. Our camera, full frame sensor, was delighted to photograph group portraits of sahumadoras. All of them are women who march backwards, some barefoot, facing to the image as a test of Faith. In the colonial times, they were the maids of wealthy families who were sent to the procession carrying silver thuribles, recipients for burning incense. Since that time every year, sahumadoras wave around incense thuribles to freshen the air during the procession.
Sahumadoras in reverse 50 |
CANON EOS 5D MARK II 17mm ISO 400 1/320 f/ 4.5 © Héctor Carballo
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Generations of Cantoras Grandmother, mother, and granddaughter at the highest point of worship
We merged with the crowd in a moment of devotion. We used most of the time 70-200mm lens to avoid disturbing intimate instant and to gain images of Faith.
The procession is honey for lovers of living culture photography and portraits because it goes slow. Pretty tempting is to play with different types of portrait: full-body, American, medium and short-half shots (see grandmother singer). It is preferable to choose a telephoto-zoom for close-ups and very extreme close-ups, including tiny details. The light changes all along the procession. The sensor sensitivity (ISO) becomes stabilized as well as the shutter is unified. The aperture, using shutter priority, to catch better the movement, only gets modified in the shades and lights of the houses which border the passage of the multitude. We add pictures without seeing the result in the screen. Stimulus, response. We add up sensitivities. We look out for images to pump up your senses and imagination as it happens in your dreams. Camera in hand we began to “steal� photos; those shots in which one just calculate the angle. Either you can stand on tiptoe or crouch down, to obtain low or high angles. To try this style used in street photography, knowing by heart the lens angular range helps a lot. Shoving one’s way through the procession is crucial if you want to get an image in focus and with a good composition.
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© Héctor Carballo
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Portraying the cargadores, the men in charge of carrying the image, when lifting and putting down the anda, binds art and boldness together. Taking distance ourselves from them and anticipating the sound of the bell are essential to capture multi-ethnic face expressions being in trouble and full of gratitude.
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Š HÊctor Carballo
© Héctor Carballo
CANON EOS 5D MARK II 17 mm ISO 500 1/160 f/ 4
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Š HÊctor Carballo
At each stop of the anda, unforeseen situation can happen. With a wide angle zoom 17 - 40mm we remain vigilant. Among applause, chants and cries of Faith, from hand to hand, a baby is offered up to the image. Patience is rewarded with such unique shot.
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Expecting for the next October to revive these moments, we plan, from now on, based on pros and cons, how to improve our shots to share it with you‌
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CANON EOS 20D 70mm ISO 200 1/250 f/3.5
Photography and text: © Héctor Carballo
i ch
n e r ld
of
n é l e b
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ENVIRONMENT & CONSERVATION PHOTOGRAPHY CROSSING Location: Belén Quarter (Iquitos, PERU) Month: May
The year 2011 was declared the “International Year of Forests” by the United Nations. It is a perfect excuse to visit the Peruvian Amazonia. Belén, a quarter on the border of Itaya River, turns into a flood zone from December to May. It is immersed in the metropolis of Iquitos; a city without access to routes by land, with almost half a million inhabitants and a latent environmental concern. To the rhythm of the canoe, seduced by a new visual world unseen in other regions of Peru, we came across the children of Belén. We were concern about the harmony between their cultural ways of survival and the conservation of their harsh environment. It is not about sightseeing. The present photography crossing is a commitment to conservation and the environment.
APRIL - SEPTEMBER
Preinca
3500 BC
60 |
0
1450 AD
Inca
OCTOBER - MARCH
1533
colony
1821
Republic
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Shifting from the non-flood zone to the overflowed water streets gave us a hint of a unique photographic and aquatic crossing. An atypical environment welcomed us in the morning, neither a mototaxi nor a wheeled vehicle run by the main flood avenue. We bumped into lots of canoes.
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Camera in hand, we were challenged to embark on a canoe. Fearful of a “dip�, we manage to change our lenses. A drop of water or dust particle would be lethal for the Canon EOS 20D sensor. It was impossible to anticipate daily scenes, movement, accurate angles and which lens to choose at such a broad panorama. Changing Lenses... Risky task! The light left a lot to be desired for shooting faces... harsh shades because of the noon light in the middle of the Amazonia.
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Our Compact Flash cards stored all sensation at an unusual speed. One by one were filled. Because we had little space in the latter, we lowered the ISO. We then accomplished more shots and better details.
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CANON EOS 20D 17mm IS0 100 1/640 f/5
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In BelĂŠn, the children spend their days at the quirk of nature and environmental hazards from Itaya River. They are urban and Amazonian. They pass the time playing house to house, either fixed or floating ones. Expecting daily the vendor of ice cones, the raspadillero, and tasting an ice cream on a hot humid climate are a relief.
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Venecia
“Street”
Canoeing Venecia “Street”, we came across boys and girls adapted to their aquatic environment. Paddles in hand they envision the future in the middle of an area where, at low water season, other type of transport circulate, which of course they do not drive.
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The canoe movement challenges ourselves to precise an angle by which we can capture water reflections with lots of color and indefinite shades.
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It is a non-working day. We do not see canoes with children, paddling to go to school, who emerge in the middle of a great water mirror. But we do find them. They enjoy an unimaginable game in any city other than flood areas, as this neighborhood in Iquitos. We envisage those same images with dawn and dusk lights and why not with children submerged in a better quality of life. It is an unresolved matter.
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w w w.bio a te lie r.c om
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