Ensaio Fotográfico Magazine 3a Edition by Ensaio Fotográfico

magazine

#3, 08/2016

EXPEDIENTE Editor Flávio Valle Ensaio Fotográfico is an electronic magazine, published every four months, distributed free of charge, whose purpose is to promote the fine art photography and research in photography produced in the city of Belo Horizonte, for the national and international context. Ensaio Fotográfico is developed with the resources granted by the Municipal Law for Cultural Incentive of Belo Horizonte (Lei Municipal de Incentivo à Cultura de Belo

Curators Flávio Valle, Isabel Florêncio, Tibério França Contributors Alex Oliveira, Junior Carazzato, Lucas Hallel e Oitenta Mundos Reviewer and Translator Oficina Só Português Production, Design and Graphic Design CultivArte

Horizonte). Municipal Foundation for Culture (Fundação Municipal de Cultura).

Cover photograph Junior Carazzato Email contato@revistaensaiofotografico.com Website www.revistaensaiofotografico.com Facebook www.facebook.com/ revistaensaiofotografico

Letter from the editor

Belo Horizonte - From detail to all

Photos and Texts JUNIOR CARAZZATO

Interview with Eustรกquio Neves

Texts OITENTA MUNDOS

Out of Place

Photos and Texts ALEX OLIVEIRA

Interview with Leo Drumond

Texts OITENTA MUNDOS

Guardrails Photos and Texts LUCAS HALLEL

LETTER FROM THE EDITOR

In this edition, we end a work cycle started

Educação para todos4 by the photographer

back in 2013, when for the first time, the crew

Guilherme

that today is the Ensaio Fotográfico1 gathered

displayed in Belo Horizonte (Brazil), Madrid

to talk about the possibility of producing a

(Spain) and Guayaquil (Ecuador).

Bergamini,

which

was

then

photography magazine made in Minas Gerais or by its people. Back then, we couldn’t imagine

In the second edition, we published the photo

the work ahead: visual identity conception,

shoot Coletivos5 by Adriana Galuppo, which

graphic and editorial project elaboration,

then classified as one of the finalists for the

website development, writing work calls

Conrado Wessel award. Adriana confided to us

and contracts, institutional articulation with

that the curators of Ensaio Fotográfico picking

other cultural agents, administration and

her work served as incentive to compete for

fund-raising, social network creation and

the award. We were very happy about her

maintenance, advertisement... Phew!

classification and her comments as they indicate that we are managing to meet the

However, the work is rewarding. Along the 3

main goal we set to ourselves when we first

editions, we received over 120 work entries,

decided to produce the magazine: to promote

10 published photo shoots, 3 critical texts

the work of photographers from Minas Gerais.

and 3 interviews. In the first edition, we published two photo shoots awarded by the

In this very edition, we published the photo

Marc Ferrez Prize: Exílio2 by Daniela Paoliello

shootings Fora do lugar6 by Alex Oliveira, BH

and Hotel Esplêndido3 by Laura Fonseca. In the

do detalhe ao todo7 by Junior Carazzato, and

same edition, it was also published the work

Grades de proteção8 by Lucas Hallel. Works

whose power makes us believe their authors will reach new heights. Two interviews are also part of this edition, with Eustaquio Neves and another with Leo Drumond, both written by the duo Julio Boaventura Jr and Manuela Rodrigues. This is the last edition using resources from the 2013 Belo Horizonte Municipal Law of Incentive to Culture. Unfortunately, to date, we were unable to find the means to finance the next editions. We are actively working on it and we hope to have good news soon. Despite of this edition’s farewell tone, I hope to see you again in future editions. (Endnotes)

See you soon, Flávio Valle – Editor

1 2 3 4 5 6 7 8

Name of the magazine Exile Splendid Hotel Education for everyone Collectives Out of Place From detail to all Guardrails

Belo Horizonte 1 - From detail to all Photos and Texts JUNIOR CARAZZATO

Photography is considered the liberator of

same light, same angle, same focus or even

painting from the moment it takes on the

the same point of view. They were then rebuilt

task of faithfully portraying the reality. Thus,

using the digital assembly method, resulting in

painting, which had the responsibility of being

a big image that refers to the original object,

a mirror of the real world, could move in

while still highlighting its flaws, patches and

other directions, especially on the modernist

collages. The non-compliance of its lines and

area, using abstraction. The project goal was

curves, lights and reflections is apparent,

to take photography down that path: Is it

causing an estrangement at first glance, which

possible to make photography abstract? If we

will normalize only after the depicted location

try to reproduce techniques and methods from

is recognized.

modernist painters, especially cubists, we get to an interesting result. (Endnotes) Thus, in this photo shoot, I tried to deconstruct

images that are ordinary to us. It consists in

of the state of Minas Gerais.

Belo Horizonte is a Brazilian city, capital

ten important locations of Belo Horizonte, which are part of the city and are well known, especially by those who live here. They were cataloged by numerous images of multiple fragments, without the concern of keeping the

Interview with Eustรกquio Neves By Julio Boaventura Jr and Manuela Rodrigues Oitenta mundos

We spoke to Eustรกquio Neves (1955), born in the city of Juatuba in the state of Minas Gerais, who, from his home in the surroundings of Diamantina, told us, among other things, about how he started in photography, about the relevance of the Ouro Preto Winter Festival in his authorial career, the project of building himself a studio, which resulted in the creation of an artist-in-residence program, and what photography currently represents in his life.

How was your first contact with photography?

During this time, I tried to get experience in photography to the point where I felt it was evolving.

I have always been interested and curious about the subject, but I imagined photography as

At this point the main problem was not having

something that was far beyond, unreachable.

anyone to exchange experiences with, can you

Then I realized it was a matter of getting

imagine back then (the 80’s), without internet?

started, regardless of the equipment and even

I had no resources at all. So I felt it was time to

financial conditions, the most important is to

get out of there and go back to Belo Horizonte,

get started.

where I used to live before. I came back because I wanted to talk to other photographers, I

In my case, this time came when I finished

wanted to better understand the language of

my chemist technician course. I was about 20

photography, not only the technique.

years old when I bought my first professional camera. Since then I have become more and more interested in this environment. However, even before that, I had some level of contact

When you arrived in Belo Horizonte, what was the conext of the photography scene?

with other types of art like painting, music, and I was drawing since I was a kid. Today I can say

The context was this applied photography

that photography has always been the most

thing, still very commercial. As soon as I arri-

comfortable environment to express myself.

ved I heard of Miguel Aún, a guy who was doing an interesting job and I wanted to know more

At what point did you notice that you were taking your photography to the next level?

about it. I was a very shy person so I never really tried to reach out to Miguel. I only got to meet him a while later because of an award I participated in.

When I bought my first camera I was living in Goiás, I lived there for three more years

As soon as I came back, Heloisa, who was a

working as a chemist for a mining company.

longtime friend, found out I was involved with

photography and introduced me to Roberto

I signed up for an amateur photography

Reusing from São Paulo, who studied with her

contest at the Padre Eustaquio neighborhood,

at PUC, also very interested in the area and

organized by Fernando Barbosa. I remember

had a photography course at Imagem-Ação (a

Fernando himself called me at home saying

school coordinated by Claudio Feijó, who was a

that one of the three photos that I signed up

reference in the area at the time).

for the competition had an honorable mention.

Right after we met, Heloisa, Roberto, Robinho

I was very happy because it was my first

(Robson Pedrosa) and myself formed a study

participation in a competition. Before I could

and idea exchange group, something similar to

celebrate he kept talking and said that the

what would now be called a collective.

other photo also had an honorable mention. I was even happier, but I mentioned that the

At the time, I had a laboratory and a small studio

photo I liked the most hadn’t been chosen. He

with open doors. Right after that Robinho set

then said: “but that’s because it won!”. Then

up a studio in his house too. So we took turns

he completed: “we just can’t give you the first,

meeting sometimes in my house, sometimes

second and the third place in the competition

in his. On weekends we used to photograph the

because the regulation doesn’t allow”. I

entire day and at night we would buy a bottle of

couldn’t believe my ears.

wine, pasta and just sat there making copies, developing films and discussing production

One of the judges of this award was Miguel

until late in the night.

Aún, who wanted to meet me as soon as the results came out. He also invited me to

Outside that group, however, there was almost

participate in a meeting of photographers he

no exchange with other photographers, I think

hosted in Foto Elias (the shop/photographic

the photography scene in Belo Horizonte was

equipment studio he owned along with his

still very closed.

father at Av. Bias Fortes). I remember Rui Cézar Santos used to go to these meetings to

Can you talk about your participation in the award where you met Miguel Aún?

talk about the more philosophical aspect of photography, the photography language, etc. Other people that used to go to the meetings 21

included Inês Rabelo, Rui Guimarães, Teco

Another important benefit of participating in

(Paulo Batista), among others. It was a very

the festival was meeting people that was just

enriching experience.

starting, like I was, and had similar interests. So much that after the workshop I partnered

This award enabled you to participate in an edition of the Ouro Preto Winter Festival, and you found out that you were already doing authorial photography. Can you tell this story? When I won the competition, I wasn’t really interested in the prize. The prize was a trip to some traditional city in Minas Gerais. I asked if they could trade this prize for something else

with two other guys to open a studio in the neighborhood of Serra.

In the following year, you participated in another edition of the Winter Festival, exposing your first series ‘Urban Chaos’, which then became an important milestone of your trajectory and in the dissemination of your work beyond Minas Gerais. How was this process?

and they offered me a basic photography course which I wasn’t interested in at the time.

Because of my participation in this first festi-

Finally, they offered me a spot in a course mi-

val I was liked among the staff of Belas Artes,

nistered by Eduardo Castanho, in the Winter

especially Beatriz Dantas, who was the photo-

Festival.

graphy coordinator of the festival, and a figure that had a very important role in the scene in

It was at this course that I found out that I

Minas Gerais. In addition, she was responsible

was already doing authorial photography and

for bringing in many guests to the festival that

I didn’t even know. When Eduardo Castanho

ended up making the difference in the careers

saw my portfolio, he gathered the attendees,

of many people at the time.

showed them the photos and said that the content of the course had to do exactly with the

So for the next year’s festival I signed up an

style of photography I was doing, authorial

exhibition, even without a work to showcase at

photography.

that time. Ten days prior to the festival Beatriz called me and said the project was approved. I

didn’t have anything, so I ran to the lab with a

me a scholarship for a residence in London, so,

box of negatives, papers of all kinds, and that’s

actually, I ended up going from Belo Horizonte

how my first series called ‘Urban Chaos’ came

to London, and then to São Paulo to meet with

to life, already applying some of the concept

my wife.

of expanded photography I was exploring over the time.

When she finally graduated she got a job offer to work in a very small town, Curralinho, near

When Rubens Fernandes Jr saw my work at

Diamantina and we ended up moving back to

the festival, he took it to São Paulo and pub-

Minas Gerais in 2005. At the beginning it was

lished it. In the following year, he invited me

very complicated, we only had access to di-

to participate in the Photography Month, which

al-up internet, and could only find cellphone

was going to take place in São Paulo and, the

signal at the top of a hill. But then it got a little

year after that, I went to the Winter Festival

better. [laughs]

as a professor of a workshop. From that point forward I just couldn’t stop anymore.

After almost a decade living in Belo Horizonte, you lived in São Paulo for a while and then you returned to Minas Gerais, but this time to live in Diamantina. Can you tell us about this story?

How did you come up with the idea of doing an artist-in-residence program in your studio? The idea came from the experience I had with programs I participated abroad, in Houston, 1995, in London, 1999, and another one I did in Holland. But until then I have never had an

My bond with Diamantina is because of my wife,

actual studio, I had only a space at home I used

she is from here. I also went to São Paulo be-

to work.

cause of her. She was studying History at USP when we moved in 99. This year, by the way,

So when I was building my new house, I decid-

was very atypical, it began as a very difficult

ed I would no longer share personal space with

year, but by the end of the year I had won three

professional space, I wanted a space dedicated

very significant awards. One of them granted

to work. Financially-wise the house was still a 23

priority. When the construction work ended I had almost no money left for the studio. At that moment I did something a lot of people these days do, collective funding. Because

brands of your work is image manipulation, which as you said before, was present since your first series, presented in the Winter Festival. How was this process created?

when the project made by Fernando Macular, an architect friend of mine from Belo Horizon-

I’ve always been involved with research in this

te, arrived I thought the space was too big for a

area, and tried to go beyond what the equip-

single person, and because I wanted to get the

ment offered me. It started with ordinary

business going and I didn’t have the financial

things like turning, solarize the image, and,

resources, I decided to announce the proposal

over time, I acquired taste for it. All this added

in my social networks and in return I offered

to the fact that I was already a chemist, so the

a residence period when the studio was com-

laboratory was always present in my work.

pleted. This relationship has matured as I photoWhen everything was ready I started announc-

graphed, and I also started gathering refer-

ing and receiving people. That’s how the resi-

ences, not only from photography but also from

dency program came up. The idea wasn’t to get

cinema and visual arts. I remember quite well

a lot of people, firstly I had to receive those who

when I saw Arthur Bispo do Rosários’ work

were paying, but until today people show inter-

at the Pampulha Museum in Belo Horizonte, I

est and come over, stay for anything between a

thought to myself “if this guy did that, I can do

week to a month, depending on the availability

whatever I want in photography”. From there, I

of time and resources. Some people even sign

was no longer afraid of manipulating negatives

up to receive scholarship via Funarte as a way

and copies and started gaining freedom.

to finance the costs. But the idea is not to get a lot of people, because if I do I will become an innkeeper and won’t be able to work. [laughs]

How did you experience the transition from analogue to digital photography?

Regarding your production, one of the

I think advents like digital photography are

tools that comes to help. It made a lot of things

phy as a tool for political reflection.

possible for me. Before digital photography, in order to make reproductions you had to resort

Regarding my production, lately I have brought

on very specific, usually expensive and difficult

photography closer to me, I don’t go out to pho-

to use material. A good reproduction requires

tograph that often anymore. It’s been a while I

a lot of patience and skill. Today, with a smart-

don’t photograph my trips, I don’t even bring a

phone you can make very good reproductions

camera with me anymore. But right now, I’m

in a matter of seconds. So in that sense, digital

working on a photobook. Since this is a project

photography made my life a lot easier.

where I want to talk about my childhood, I have been doing this indoors. I have photographed

But the basis of my process is still analogue.

my son and I have also done a series with my

I use digital features mostly when I work with

mother. And so, gradually, photography is get-

videos. I like to move between medias, from

ting closer to me, inside me family.

the oldest analogues to the newest digital, and I have this freedom with videos. In everyday pictures I usually apply digital processes to treat images and to output it.

What is the role of photography in your life today, and what have you been photographing lately? To me, photography always had a role of discussing and because I talk a lot about myself, I end up discussing my own issues. Within these personal topics I can’t help but to bring up things like my origin, racism and other social problems in general. In short, I see photogra-

Out of Place Photos and Texts ALEX OLIVEIRA

Out of Place1 is a photographic series produced

objects found during the wanderings and

in 2014 by traveling through six cities from

detours, investigating the similarities between

Bahia: Caetité, Ibicoara, Ituaçu, Jequié, Paulo

the landscapes of the caatinga2, sertão3

Afonso and Salvador.

and Chapada Diamantina4 and the desertic landscapes with oasis from the Middle East.

The photographies were produced from the construction of a self-representation that

That being said, I proposed intertwining

proposes to reinforce my Brazilian, mixed-

photography and performance, memory and

race background with Arabic traces; utilizing

invention, out of a narrative game that fuses

clothes composed by a classic Arabic tunic, a

real and fictional elements, highlighting my

taeia (male beanie) and a golden Arabic fabric.

origin and blurring my identity with a made up

The project started when several people

history.

started asking about my ethnic background, pointing out similarities with the Arabic people, which points to a possible true story given the fact that my home city of Jequié (BA) had significant presence of Arab descendants in its history, a worth mentioning example being the poet Waly Salomão, son of a Syrian father with a local woman. During the process of creation, I tried to experiment

with

compositional

relations

(Endnotes) 1 The original expression “Fora do Lugar” is a Brazilian expression that has no counterpart in English due to its double meaning. Literally it means something is misplaced or out of place and metaphorically it means a person who does not fit in. 2 Caatinga is a type of desert vegetation, and an ecoregion characterized by this vegetation in interior northeastern Brazil. 3 The Sertão is one of the four sub-regions of the northeast of Brazil. 4 Chapada Diamantina is a region of Bahia state, in the Northeast of Brazil.

between body and space, randomness and

Interview with Leo Drumond By Julio Boaventura Jr and Manuela Rodrigues Oitenta mundos

We spoke to Leo Drumond, photographer, one of the founders of Nitro and current president of ARFOC-MG. He told us, among other things, the reasons that led him to pursue the position of president of the Association, the restructuring work and the importance of collective union for the photographer class. He also talked about the path that the Nitro agency took in recent years and the need to think of new business models for the future of photography.

How did you come to know ARFOC-MG and what did it represent at the time?

the price reference table.

Why did you decide to create a party to run for the presidency of the association?

In 1999 I worked with the photographer Nelio Rodrigues and he encouraged my association

One of the main reasons was the desire to

with ARFOC-MG. Back in that time, the

restore the tradition of ARFOC-MG. I believe

institution had some strength, but it was much

that in a young country as ours is, older

weaker than when it was created in 1950. A

institutions, if they have relevance to justify its

time when the newspapers had many hired

activity, deserve to be protected.

professionals in the area, public agencies and larger companies with larger demands for

Another point that drove me was the lack of

images also had their own photography staff.

representation for the class. The Abrafoto, for example, a national association which had a lot

All though for me the most emblematic was

of strength in the past, has a really outdated

the price reference table, coherent and still

website and a very weak presence towards

widely used by the publishing industry. At

social media. Fototech, another institution that

the same time, we had the issue of sports

still remains strong in the state of Minas Gerais,

photographers, especially soccer. Once you

is also suffering from loss of associates, and I,

had to be an associated member in order to

personally, think that collective representation

have access to the stadiums.

shouldnâ&#x20AC;&#x2122;t be restricted to professions with syndicalist tradition such as metallurgical,

Unfortunately, overtime, granting access to

banking, etc.

sports stadiums was one of the few roles kept by ARFOC-MG. With the decline in numbers

For example, there is a law about tax reduction

of media outlets, hired photographers are

for imported equipment that would greatly

increasingly rare to find, many are changing

benefit photographers, but we donâ&#x20AC;&#x2122;t have

their occupation area or even careers. Thus,

a collective voice for that. When we look at

competition led to a weakening in the role of

foreign examples like in the United States of

America, we see very strong syndicates in

Basically, the institution had several legal

the areas of communication and creativity. Of

issues, as many procedures were not done

course the industry is a lot more strategic in

correctly for years. The legal registry situation,

their case, especially in audiovisual. I imagine

which is where the ARFOC-MG is registered in,

that representatives of these unions have

was also irregular, which prevented us from

meetings with Barak Obama, and this is just

mobilizing money and from participating in

so outside of our reality. But I see it as a flaw

festivals and bid invitations. Also, members

that photographers didnâ&#x20AC;&#x2122;t think of uniting. We

who had joined in the previous years didnâ&#x20AC;&#x2122;t

have one of the main strength factors today

have their professional registration, and that

which is financial, we mobilize a considerable

should be mandatory. Even though ARFOC-MG

amount of money. Photographic equipment is

does not have the power to grant registration,

expensive, in addition to the wide spectrum

the professional should seek the journalistsâ&#x20AC;&#x2122;

of photographers between professionals and

union, who intercedes with the Ministry of

amateurs that expend money in this market.

Labor, to get the registration.

And finally, another point that also led me to

In short, the association was in a very

create this party is so that ARFOC-MG could

complicated

have a more cultural bias, to promote the work

extensive legal aid work in order to be able to

of members and initiatives in the area.

convene the meeting for the election. But we

situation,

which

required

were able to manage and the party was elected.

Can you talk a little bit about the process and the first actions you took after you took over the presidency?

At first, the priority was to rectify the situation, especially in the legal registry office, in order to recover the rights to make financial

We started talking to people that were interested

transactions and participate in bid invitations.

in creating the party by the end of 2013, during

Then we made a renovation at the headquarter

the year of 2014 we had several meetings to

so it could be used to host meetings and events.

discuss the current situation of ARFOC-MG. 45

Another major work was the renovation of the

these professionals.

members and helping those who didn’t have their professional registration. We also did a

On the other hand, as for more immediate

survey to learn more about their profiles and

actions, we are planning on having an agenda

demands, and, based on the results, we are

of courses and workshops, and getting more

setting the next steps.

benefits for the members. Because to be honest, the way things are now, photographers

Based on this survey and the current market situation, what do you think AROF-MG has to offer?

that don’t attend sports events don’t have a real reason to be associated to ARFOC-MG. Representation is still very low, so we need to create more concrete benefits.

I think that in the near future, thinking about this situation that an increasing number of

Regarding the profile of the members, through

photojournalists are freelancers, AFROC-MG

the survey we found that for most people,

could offer models to provide standard service

photography is a secondary job, especially

contract, legal advice for members and even

for sports photojournalists, since the events

the institutional support in case of disrespect

happens outside of business hours and with

or violence against professionals. Facts that,

pre-defined dates. Also, many professionals

in the current political scenario, are happening

are

more often and photographers find themselves

photography rather than with media outlets

unprotected, with no legal ties to a company,

and the press, and part of that is, besides the

leaving them exposed to serious risks. In

crisis that media outlets are facing, due to low

such cases, the institution looks to intercede,

prestige as well as low financial reward for

providing legal aid, releasing press notes and

these professionals.

involved

social

and

institutional

attending public hearings in cases of violence, for example. So in that sense, the role of the

That is why one of the association’s struggle

association would be to provide at least part of

is to reestablish the price reference table,

the support that companies once provided to

because looking at the market the way it is now

and think it will regulate itself is an illusion. In the near future we will even need to

By definition, ARFOC is the association of photographic and cinematographic reporters, currently it is very common that these two jobs are performed by the same professional. How do you see this scenario? I think the reporter definition is outdated, but at the same time I think that image reporter makes even more sense than photojournalist,

know the basics of programming. Relying on programmers and designers to launch a visual platform these days is becoming unsustainable.

About your time with Nitro, can you talk a little bit about the paths the agency took, and how it consolidated itself in such a troubled market in the last few years?

because then we can enter the video area hybrid

In my opinion, Nitro is a reflection of the market

professional is already a reality, in the new

for both the good and the bad side. When we

class almost every photographer can also

started, we did weddings, 15 year anniversaries,

film. This ability can be an opportunity to act in

events, advertising, we even had a studio. It

the media, as some media outlets are already

was a real machine gun shooting everywhere,

being established in the audiovisual production

we did everything! [laughs]. Anyway, it was a

for the internet. Here in Minas Gerais, the

very good learning experience.

without

hesitation.

Besides,

this

production is still shy and lacking in quality, but I know there is interest.

When I went to SĂŁo Paulo looking for experience as a trainee for Folha de SĂŁo Paulo I had the

I think the old school do not want this transition

opportunity to talk to important people like

and I can understand, its years of another type

JoĂŁo Bittar and Pisco de Gazio. I remember

of practice. But the photojournalist today must

Pisco being decisive about us not being a hard

have this hybrid profile, for aesthetic reasons,

news agency and not trying to compete with

but mainly for commercial reasons.

newspapers and agencies, because it was not 47

very profitable. And from those conversations,

because we also enjoy being on the field. Thus,

nobody leaves Nitro without being guided, it is

the short participation in workshops, festivals

a maximum to date.

and other places are still more interesting. On the other hand, we are realizing that we need

Being quite honest, despite the difficulties of

consistency, a more stable agenda, but this is a

2015 and 2016, until 2014 we got good results

decision we still have to consider with the field

from those decisions. Nitro had some really

work schedule and evaluate our priorities.

good years commercially, as well as in terms of professional and personal fulfillment. I feel we are leaving our mark in the history of photography, shy, small, but it’s there, our

What are the basis of the Nitro business model today?

projects, our books. On the other hand, a mark of professionalism in the commercial segment,

Most

Nitro’s

revenue

comes

from

with quality and respect for the values of our

corporate and institutional market, both from

work.

photography and video. The best part is that we managed to be hired because of our main

In addition, the knowledge we created,

proposal which is storytelling. The education

something that has now become a subterfuge

part of Nitro is still small, but it’s growing as

for almost all experienced photographers,

said earlier.

which is the market of workshops and courses, is an interesting market and that has demand.

Also, we have been providing training for

I personally think that we reached a point

communication companies, enabling their

where we really have something to teach, we

professionals to handle internal demands.

have practical and life knowledge that we can

Another big bet has been image database

pass along without much modesty.

management for clients. We have organized all this material on a platform where the

I know that we haven’t invested that much yet to

companies

make a big step, to create a school, for example,

distribute to their communication and press

can

search,

download

and

relation sectors. I am very optimistic about the

I believe that if we do not start to be more

possibilities for this product.

creative and come up with new products and models to continue with our work we would be

And what is the role of authorial productions, which is also a huge brand for Nitro?

taking too much risk. It would be very naive to think that we will continue living off corporate photography as

If Nitro stops developing authorial projects, I’d

we have done so far. I even believe that Nitro

rather close the doors. Living without doing

is taking a long time to see that in a pragmatic

projects that we believe in is very difficult.

manner. But the truth is that the model is still

But beyond the personal relevance that these

feasible today because we’ve made a large

projects have, we have achieved over the

customer base throughout the years. But

years a more viable way of working with them,

every year another customer leaves us, at one

seeking bid invitations and even sponsorship

point we will look around and there will be no

with partners.

customers left. To me, this is a key point.

The infamous monetizing word has to be in

It’s not an easy situation, we will probably have

everything we do now because even though

to develop projects that will no longer have

personal and professional satisfaction counts

use for our photography (the image database

towards value, part of that is cost that must be

project for example), but for me it’s a matter

paid, so we have to find ways to balance.

of letting it go. In the future I just want to keep working with images, but I know that it

How do you see the role of Nitro in the near future?

probably won’t necessarily be clicking.

As I mentioned before, our business model has always brought good results (despite the difficulties of the last two years). However, 49

Guardrails Fotografias e Texto LUCAS HALLEL

Using a camera with a wide angle to capture

social verticalization, showing the authorâ&#x20AC;&#x2122;s

the buildings from the bottom up, I try to create

intervention and inserting elements that will

some kind of vertical aspect to the images,

never be seen without safety ropes or other

representing the environment that most of the

means of protection. This questioning is to

biggest cities have as a collectivism element.

show that with population growth, all relocation of space is given to the construction of larger

Photography and digital manipulation are ways

and larger civil and commercial buildings,

I use to criticize this verticalization of cities or,

leaving little space for coexistence and human

a term I often highlight, human verticalization,

interaction.

which is an urban process that occurs in cities and megacities and is characterized

The images represented in this work brings

by the construction of numerous large-sized

classic games and other forms of contemporary

buildings. This incessant construction hinders

entertainment, in addition it also shows the

air

surreal aspect of the environment.

circulation,

creating

environmental

problems in the cities, but this construction trend can also interfere with human interaction, which can be a social problem and is also the

KEYWORDS:

focus the project will be taking.

Verticalization.

Human

verticalization.

Photography.

Digital

Manipulation. The purpose of the images is to question this

CONTRIBUTORS

Alex Oliveira Alex Oliveira é fotógrafo, natural de Jequié (BA), graduado em Comunicação pela Universidade Federal da Bahia. Desenvolve investigações artísticas em torno da fotografia, performance, intervenção urbana, redes sociais e arte contemporânea. Na Bahia, integrou exposições na Aliança Francesa, seis edições dos Salões de Artes Visuais, XI Bienal do Recôncavo, 3ª Bienal da Bahia. Em São Paulo, participou da Temporada de Projetos 2016 do Paço das Artes. Em Belém (PA), participou do Diário Contemporâneo de Fotografia. Em Malmö (Suécia), realizou sua segunda exposição individual, na galeria Vasli Souza, expondo imagens produzidas no Brasil e durante a residência artística na Europa.

Junior Carazzato Atualmente cursando Bacharelado em Artes Plásticas na Escola Guignard em Belo Horizonte desde 2014, formado em engenharia e atuando como Analista de Sistemas em uma empresa de informática onde desenvolvo softwares para sistemas bancários. Com uma visão analítica e digital pretendo fazer habilitação em fotografia e desenvolver projetos visuais aliando o pensamento lógico de exatas com a sensibilidade artística. Já participei da XV mostra interna da Escola Guignard em 2015 sendo um dos artistas premiados, além de premiado em segundo lugar no I Concurso Fotográfico Objectif France em 2015.

Isabel Florêncio

Lucas Hallel Specialist in photographing music concerts, with over 10 years of work carried all around the country, Lucas Hallel acts as a photographer and image consultant. Graduated in Photography from the FUMEC/ MG University. Had exhibitions in the Sou Café, with his memorial work entitled “Psychë” (2015), collective exhibition of “Retratos de crianças”1 __________ 1 Children Portraits

Researcher in the field of intermediality, photographer and curator in the Brazil/Germany axis. Doctor in Comparative Literature and Semiotic Systems from Faculdade de Letras/UFMG1. Her thesis, entitled “Figuralidades: da tradução ao poético na fotografia de arte contemporânea”2, discusses intermediality in contemporary art and establishes a compared relation between the discursive strategies of art photography and literature from the 1970s. __________ 1 Language School at the Federal University of Minas Gerais (UFMG) 2 Figurality: from translation to the poetic in photography of contemporary art

Flávio Valle

Tibério França

Doctorate student in Social Communication at UFMG. Master’s and Bachelor’s degree in Social Communication, major in Journalism, from the same institution. Professor with experience in teaching activities, research and extension in the following area: Visual Culture, Photography, Image, Narrative and Journalism. Editor and Curator for the Ensaio Fotográfico magazine. Cultural producer with experience in conducting photographic projects. Contributor of the Núcleo de Estudos Tramas Comunicacionais: Narrative and Experience. Founding member of Fora das Bordas, collective of integrated visual arts.

Photographer and Photography professor at Guignard School/UEMG. Between 2003 and 2006 was the curator of the First Photo Gallery in Belo Horizonte conducting exhibitions. Co-founder of the Núcleo Imagem Latente, coordinator of the Authorial Photography Forum of Minas Gerais and director of the Photography Week in Belo Horizonte. Member of the collegiate sector of Visual Arts of the Ministry of Culture from 2010 to 2013. Current National President of the Fototech Association of Photographers and Administrative Director of the Cultural Photography Producers Network in Brazil.

Oficina Só Português Created by Mariana Clark, psychologist, master in Literature and graduated in Portuguese, and by Viviana Giannaccari, administrator, specialist in organization of methods and processes, Oficina Só Português has a specialized team in several areas of work related to language, such as classes, textual follow-up, reviewing and formatting, translation and audio transcription. It provides services to commerce, industries, schools, advertisers and cultural producers all over Brazil. www.OficinaSoPortugues.com.br

CultivArte CultivArte is a collective that works with cultural projects in the visual arts area. Formed in 2013 by the photographers Beto Eterovick and Madu Dorella, has been working in producing exhibitions, publications, workshops and organizing events related to photography. CultivArte participated in the Tiradentes Photography Festival in the 2014 and 2015 editions with production plants and exhibitions, as well as being responsible for the realization of the photographic exhibitions and cultural events that take place in Espaço Cultural Sou Café, in CCBBBH.

Oitenta Mundos Constituted by the economist and cultural manager Manuela Rodrigues and by the photographer and content editor Julio Boaventura Jr, the Oitenta Mundos was born in 2013, inspired by lectures and debates from the Terceiro Fórum Latino Americano de Fotografia. From that moment on, they started to investigate initiatives and to interview photographic cultural production professionals. They have also participated in teams of important festivals and events on the field: E.CO/14- Encontro de Coletivos Ibero-americanos (2014), 9º Paraty em Foco (2014), Goa Photo (2015 / Índia), 5º Foco em Pauta Tiradentes (2015), IV Encontro, Pensamento e Reflexão na Fotografia (2015), 10º Paraty em Foco (2015) e 2º San José Foto (2016 / Uruguai).

Sponsorship:

Production:

Projeto 123/FPC/2013

Support: