may 2023 finally, i went to the subway and started photographing the lines. it was something i called "setting images", photos made while riding the trains without a concrete objective or destination.
in fact, the subway had become my final destination, that was when i started to discover things previously unknown to me
april 2023 with my visual studies ongoing, i tried to make some test images while in the subway using the gear and editing style that i would use for the actual book itself.
during the process, i used a olympus fe 220 digicam and a sony cybershot. and developed the editing preset based on moriyama`s work for 6 months just by looking at his photos.
it was through the course of 3/4 wednesdays after class that i got in touch with Daido Moriyama`s work, and most importantly, his thoughts about photography. They weren`t many. Moriyama-san didn`t and still to this day doesn`t like writing about his process, or discussing photography and its meaning. Still, i got hold of some pretty good interviews, and articles analysing his work through the years. the book im reading in the photo is called Japanese Photobooks of the 60s and 70s, by Ryuichi Kaneko and Ivan Vartanian.
how could i create a book that had interviews and portraits whilst also making them not characterized? there were dozens of people that had similar routines, and i didnt want to make any characters for my book. For me, they were just examples, but not particular ones. I wanted to shy away from the journalistic practice of having a driving character in a narrative. i didnt want a narrative.
when i first saw this photo, i knew it had something to tell me. to photograph a biker gang and blur out their identities by using the flash was something i never saw, but everything i needed. you could understand their social and cultural status, without knowing their faces.
march 2023, this was the first time i went to the subway with the intention of better knowing my surroundings. as my field trip ended, i interviewed everaldo, a "vendedor ambulante" about his routine selling stuff in the subway wagons. he would be the blueprint for the next interviews.
i needed to rethink the questions, and never take a portrait with a solid wall behind the subject again.
daido moriyama inspired Metrô.Nomos . this quote, along with his expo from Instituto Moreira Sales, were pivotal for my work, as i found a new language and approach to taking pictures that defied traditional journalism and my own old ways of photographing the world
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7 - Red Line
finally, i went to the subway and started photographing the lines. it was something i called "setting images", photos made while riding the trains without a concrete objective or destination.
in fact, the subway had become my final destination, that was when i started to discover things previously unknown to me
6 - successful tries
this was when i decided my preset was perfect, ready to go.
5 - first experiment
with my visual studies ongoing, i tried to make some test images while in the subway using the gear and editing style that i would use for the actual book itself.
during the process, i used a olympus fe 220 digicam and a sony cybershot. and developed the editing preset based on moriyama`s work for 6 months just by looking at his photos.
4 - i went to IMS and studied Moriyama`s work
it was through the course of 3/4 wednesdays after class that i got in touch with Daido Moriyama`s work, and most importantly, his thoughts about photography. They weren`t many. Moriyama-san didn`t and still to this day doesn`t like writing about his process, or discussing photography and its meaning. Still, i got hold of some pretty good interviews, and articles analysing his work through the years.
the book im reading in the photo is called Japanese Photobooks of the 60s and 70s, by Ryuichi Kaneko and Ivan Vartanian.
3 - from "A Hunter" (1973) by Daido Moriyama
when i first saw this photo, i knew it had something to tell me. to photograph a biker gang and blur out their identities by using the flash was something i never saw, but everything i needed.
you could understand their social and cultural status, without knowing their faces.
2 - first try at interviewing, his name was everaldo
i needed to rethink the questions, and never take a portrait with a solid wall behind the subject again.
1 - i take pictures not just with my eyes, but with all my body