The River (Part 3) - Rio Tejo, Lisbon, September 1994

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Technical Data:
Camera - Hasselblad 500 C/M
Lenses - Carl Zeiss Distagon-C 3.5/60mm + Carl Zeiss Sonnar-C 4/150mm
Film - Kodak T-MAX 100
Developers - Kodak HC-110 + Tetenal Neofin Blau
Location - Lisbon, Portugal
Date - September 1994
Scanner - Epson Perfection 4990 Photo


XXXIV

Acho tão natural que não se pense
Que me ponho a rir às vezes, sozinho,
Não sei bem de quê, mas é de qualquer coisa
Que tem que ver com haver gente que pensa…

Que pensará o meu muro da minha sombra?
Pergunto-me às vezes isto até dar por mim
A perguntar-me coisas...
E então desagrado-me, e incomodo-me
Como se desse por mim com um pé dormente...

Que pensará isto de aquilo?
Nada pensa nada.
Terá a terra consciência das pedras e plantas que tem?
Se ela a tiver, que a tenha...
Que me importa isso a mim?
Se eu pensasse nessas coisas,
Deixaria de ver as árvores e as plantas
E deixava de ver a Terra,
Para ver só os meus pensamentos...
Entristecia e ficava às escuras.
E assim, sem pensar, tenho a Terra e o Céu.


Poemas de Alberto Caeiro – Obras completas de Fernando Pessoa
(Lisboa, Edições Ática, 1979), pp. 57


XXXIV

I find it so natural not to think
I start to laugh sometimes, all alone,
I don’t really know why, but it’s about something
To do with knowing there are people who think...

What is my wall thinking about my shadow?
I ask myself this sometimes until I notice
I’m asking myself things...
And then I get mad at myself, and feel uncomfortable
Like when my foot falls asleep...

What does this think about that?
Nothing thinks about anything.
Does the earth have consciousness of its stones and plants?
If it did, it would be people. . .
Why am I worrying about this?
If I think about these things,
I’ll stop seeing trees and plants
And stop seeing the Earth
For only seeing my thoughts...
I’ll get unhappy and stay in the dark.
And so, without thinking, I have the Earth and the Sky.

Translation from Fernando Pessoa: Alberto Caeiro: Complete Poems


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Flor da Rosa, Crato - Carrilho da Graça (Wasted Project 2)

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When I came back to Portugal in 1990, after living in Germany for many years, the first architecture photographs I made, were assigned by the architect Manuel Tainha. I should photograph his just built Faculdade de Psicologia e de Ciências da Educação, Universidade de Lisboa.

It just so happened that the publisher, and also architect, Luiz Trigueiros from Editorial Blau, saw the images and liked them. He subsequently asked if I wanted to work for his magazine "Architécti" (by that time a really fine publication), and offered me two assignments: the above mentioned work by Tainha and the Piscina Municipal de Campo Maior, by João Luís Carrilho da Graça.

Photographing the works of these two master architects, I got started in Architecture Photography. Not a bad start, I could dare to say...

Around 2004, I thought about doing a White & Blue book on the recovery and conversion of the Flor da Rosa Monastery in Crato, Alentejo, into a Pousada, by Carrilho da Graça.

On my mind, it would be a fabulous companion book for my other publication about Santa Maria do Bouro, also a conversion of a Monastery into a Pousada, in Amares, by Eduardo Souto de Moura. Both are outstanding works, having their origins in historic buildings.

Well, I do love that!

The necessary steps were undertaken: I met João Luís who agreed to colaborate on the project, permissions and arrangements to photograph the building were granted, film was ordered, and so on and so on...

After many images were shot in 2005, the excellent designer Francisco Vaz da Silva, from Aveiro, made an interesting mock-up. Everything was looking good, and I thought that I could soon publish another book!

Then the wheel of fate started turning the other direction, things started going bizarre, and for many reasons I don't wish to detail, sometimes I don't even understand myself, the book never took form.

One more wasted project!

My loss, for sure!, nobody's gain, I guess...

Some fellow photographers claim that they don't like to talk about their equipment or methods. Some even say that they don't care about technical issues. How grateful they must be!

These fellows often excuse their relutance on talking about technic, with the explanation that only the image counts, and nothing else matters. While I might understand that point of view, with some of them I have to ask if they have technical knowledge at all...

I permit myself to be silly and disagree: yes, equipment and technic count!

I am not a magician and I don't have tricks upon my sleeves, I don't pull secret rabbits out of my hat!

I am a photo-freak with nothing to hide!

Are you perhaps eager to learn more about what kind of gear I used to make the above photographs? Look at the list below (I hope that I won't forget something important, I very often do!):

- Gandolfi Variant with 6x12 Horseman roll film back, and Linhof 6x7 Rapid Rollex (as the names imply, 6x12 and 6x7 formats); Schneider lenses.

- Horseman SW612 Pro (6x12 format, also doubles duty as 6x9 camera); Rodenstock lenses.

- Corfield WA67 (6x7 format) with fixed Schneider Super Angulon 47mm.

- Hasselblad 500 C/M (format 6x6); Carl Zeiss lenses.

- Film: Kodak Ektachrome 120.

- Light meter: Gossen Variosix F.

- Color meter: Gossen Color Master 3F.

- CC and LB Filters: Rodenstock.

- Tripods: Gitzo and Manfrotto.

- Lighting equipment: Hensel.

Got an idea?

Now a little joke, and food for thought, for imaginary clients: would you find it correct to pay me the same for this kind of service, as if I only took my Canon digi and a little tripod along?

No? Well, a lot of people do...

Oh, by the way, where was my digi-ding-a-dong-dings-bums?

P.S.: A very special thank you goes to my son Luís who assisted me on the photographic sessions and all the people involved, mainly the staff personnel at Flor da Rosa, who were always very kind and helpful.

Have fun!

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Works Of Art (5)

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Margarida Neto, "Coreografia", 2002 (8x10")

Mário Cesariny, "Penélope Corre ao Encontro de Ulisses", 1974-85 (8x10")

Mário Cesariny, Relógio, Lima de Freitas..., (9x12)

Paul Gauguin, "Nature Morte aux Pommes", (6x6)

Roberto Chichorro, 1994 (4x5")

Roberto Chichorro, 1996 (13x18)

Rogério Chora, "Embarcações no Rio Sado", 1994 (9x12)

Roland Topor, 1989 (6x7)

I would like to share with you once again a small selection of paintings that I had the chance of photographing through the years, on different occasions and using different cameras: Gandolfi 8x10 (sometimes with 5x7" reducing back), Sinar F2, Hasselblad 500 C/M and, for the last image, Mamiya RZ67.
Lighting as usual by Hensel Flash, Würzburg, Germany.

In this kind of post, I don't find it very polite on my part to say that I prefer this or that artist; I am sure that you agree...

Anyway, I think that nobody will dare to criticize me, if I admit that I found a very deep emotion photographing the painting by Paul Gauguin.
Somebody was not only lucky enough to own such a valuable work of art, but also made good use of it: that person had it hanging in the bedroom wall, right in front of the bed.

Imagine laying in your mattress with such a view...

(Please, don't bother to ask where, because I forgot it long ago!).

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