Happy Birthday father!

..

José Morais de Sousa, Coimbra - April 1980

If my father was alive today, 17th of June, he would be 88 years old.

My mother reveals that he often declared that he wanted to live until he was 84. He was lucky, that's how old he got!

He was an army officer but, on occasion, he also served in Guarda Nacional Republicana. That's where I have pictured him, in his office in Coimbra, with my Leica.

So please allow me to pay him this little tribute and say "Happy Birthday father".

Evelise Morais de Sousa, Coimbra, 6 of April 1980.

Yes, that's my mother on her 48th birthday, holding a bouquet of roses.

In reality, both photographs were presumably shot on the same day, as my parents lived inside the base (for some years I lived there too, by then I was on vacation from Germany).

Time goes by...

Both photographs were shot with my (at that time) almost-new Leica M4-2 and Summicron 50mm, on Kodak Tri-X film, developed in Kodak D-76 1+1.

You should be acquainted with that camera from former posts on this blog. As it so happens, she keeps on going strong after all these years. A good friend of mine!

Funny: she keeps on being my youngest Leica!

Wish we could all be forever young...

..

Central Tejo, Lisbon, July 1996.

..

I have yet to meet a photographer who, in a way or another, doesn't feel fascinated by old and abandoned industrial sites.

Doubtless, there seems to be a certain kind of magic inherent to such locations, rendering very inspiring and photogenic material for many creative minds.

In small, medium or large format, analogic or digital, you will be rewarded with some appealing images if you enter such an environment with open eyes and a curious mind.

Some others prefer to simply use it as a backdrop for their creativity: fashion photographer Peter Lindbergh has produced some memorable shots in those places where the machines have long stood still.

I had just switched my main 35mm SLR equipment from Nikon to Canon when I made these shots, way back in 1996. I had decided to "modernize" and go auto-focus, with the help of some exposure automation, for my "bread and butter photography".

In those times I was exceptionally busy, so I thought that it was maybe clever to simplify my life a little and leave some heavier equipment in the studio: for many assignments (when transparency size was not of primordial importance) I started leaving the Hasselblad and brought the Canon stuff along. So I also could save on film expenses and rescue us from too many E-6 developments, which we used to do by ourselves.

I had already enough jobs to do in 9x12/4x5", my back was needing to take a break!

All shots with Canon EOS-1n + EF 70-200mm f2.8 L in Ektachrome film.
(older version, without Image Stabilization)
Close-focus capability with extension tube EF-12.

It was not an option then, but I never missed Image Stabilization, as you can find in the newer model (the photographs above were shot with the camera on a solid tripod, making IS unnecessary).

In any case, there is still a strong argument in favor of the newer lens: it is weather-sealed!

You could find very wet conditions where I used to live before I have moved to Montemor-o-Novo, so my lens got some nice fungus inside, after I had it at home for some monthes...

I suspect that weather seal could have avoided it.

In any case, stupid me! I should have known better...

The Minolta Years - Linha do Corgo, North Portugal, 1978

..

I was fortunate enough to go through some old folders and find these old images of Linha do Corgo, between Peso da Régua (by the Douro River, in the heart of the region that produces the wellknown Port Wine) and the beautiful town of Chaves.

I really was afraid that they had got lost...

So, running the risk of excessively bothering you with old trains and old lives, I decided to share them just for the fun of it, just to get myself amazed how old I am becoming, and how wonderful this country used to be.

Please, ponder that these photographs have very little resemblance with the ones that I have posted before about Nene Valley Railway, in the United Kingdom. The difference, evidently, consists not only in the use of Ektachrome film for sure...

In this case you are not looking at an open air museum run by some aficionados: instead, these images let you take a look at the Real Thing! Here you can take a glimpse at everyday life in the region some 32 years ago!

All photographs made with Minolta cameras and Kodak Ektachrome film.

How should my beard not grow snowy white, when I see so much great things being mercilessly and forever destroyed, when I watch our too well paid public administrators happily and carelessly contributing for the loss of such património cultural in the name of a very questionable progress?

Don't understand me wrong, I also can see that time doesn't stand still, and that the population needs comfort and modern facilities. I only can't accept that such a potencially rich region sees itself rid of such a heritage: the wonderful stations and trains are just foolishly destroyed or simply disappeared. Even the rails are gone and the bridge is impassable!

Why don't THEY (the people that sit at the top and that should look after us and the nation. It's for that that they get paid...) learn the lessons by people like the ones who run places like Nene Valley Railway?

I have no doubt that many train lovers and tourists in general would come for a ride and would gladly take the chance of visiting the region, learn it's tasteful food and wine, gaze at it's beauties. How can we be so stupid and despise that?

How can we allow that everything goes kaputt?

(Oh yes, I guess that we get what we deserve. We are the ones who waste our votes...)

..

The Family of Zé Preto and the Horse - Montemor-o-Novo, March 2010

..

All photographs were made using a Rolleiflex SL 35 (Rollei Singapore) equiped with german made Carl Zeiss lenses, namely the Planar 1.4 / 50mm HFT and the Sonnar 2.8 / 85 mm. A Rollei yellow filter was also used with both lenses.

Fomapan 200 developed in Kodak D-76 1+1.

I would like to dedicate these modest photographs to someone that I very much respect and admire for many years: JOSEF KOUDELKA.

His book "Gitans - La Fin du Voyage" (copyright 1975 by Josef Koudelka, Delpire éditeur Paris and Aperture, Inc. New York) has been a true companion of mine since many years now, and a true source of inspiration.
I wish I could have the genius and the integrity of Mr. Koudelka's vision...

A special thank you goes also, of course, to the portrayed family!

..

Working Class Hero - 1st of May, 2010

..

Rolleiflex SL 35 + Carl Zeiss Planar 1.4/50mm HFT

Fomapan 200, Kodak D-76 1+1

Lisbon, Portugal, April 2010

Leica M2 + Super Angulon 3.4/21mm

Fomapan 200, Rodinal 1+100 (stand development)

Montemor-o-Novo, Portugal, September 2009

Leica M4-2 + collapsible Summicron 2/50mm

Fomapan 200, Rodinal 1+50

Évora, Portugal, December 2009

Rolleiflex SL 35 + Carl Zeiss Planar 1.4/50mm HFT

Fomapan 200, Kodak D-76 1+1

Lisbon, Portugal, April 2010

Zorki 3-C + Jupiter 8 2/5cm

Fomapan 200, Rodinal 1+50

Praia da Amorosa, Portugal, August 2009

Zorki 3-C + Jupiter 8 2/5cm

Fomapan 200, Rodinal 1+100 (stand development)

Montemor-o-Novo, Portugal, September 2009

"Working Class Hero" - JOHN LENNON

As soon as you're born they make you feel small

By giving you no time instead of it all

Till the pain is so big you feel nothing at all

A working class hero is something to be.

They hurt you at home and they hit you at school

They hate you if you're clever and they despise a fool

Till you're so fucking crazy you can't follow their rules

A working class hero is something to be.

When they have tortured and scared you for twenty odd years

Then they expect you to pick a career

When you can't really function you're so full of fear

A working class hero is something to be.

Keep you doped with religion and sex and TV

And you think you're so clever and classless and free

But you're still fucking peasants as far as I can see

A working class hero is something to be.

There's room at the top they are telling you still

But first you must learn how to smile as you kill

If you want to be like the folks on the hill

A working class hero is something to be.

If you want to be a hero well just follow me.

(Words and music by John Lennon, 1970, from the album "Plastic Ono Band")

"Politician" - CREAM

Hey now baby, get in my big black car

I wanna just show you what my politics are.

I'm a political man and I practice what I preach

So don't deny me baby, not while you're in my reach.

I support the left, tho' I'm leanin', leanin' to the right

But I'm just not there when it's coming to a fight.

Hey now baby, get into my big black car

I wanna just show you what my politics are.

(Written by Jack Bruce and Pete Brown, 1969. From the record "Goodbye Cream")

It's so long ago and still so fucking true!

..

Gandolfi Precision 8x10 inches - Studio Portraits, Lisbon, 1996

..

Hictiandro and Mário

When I bought the Gandolfi Precision, back in 1996, I was anxious to try it under the control of studio lighting. It was also, in a way, an easy form of getting acquainted with the camera and it's characteristics. Although I had sometimes used a Linhof Technika, I was at the time much more familiar with the monorail design, making most of my work with a Sinar camera. It was also advantageous for me to get used to handle the much bigger film size in the comfort of my darkroom.

So, I just got some T-Max 100 and looked for some "volunteers" at hand: in this specific case, my third son Mário (now 20!) and his friend Hictiandro.

All black and white negatives were developed in Kodak HC-110, dilution B. I should maybe further write, that I never was a great friend of HC - 110... (Mr. Ansel Adams, will you please forgive me?).

To shoot these b&w images, I equiped the Gandolfi with the Rodenstock Apo-Ronar 480mm MC, and the session took place on the 4th of April.

Irina

A short time later, I decided to experiment with some color in 8x10", so I ordered some Fujichrome Velvia 50. As I was looking for some colorful subjects, I thought that it might be interesting to photograph some african girls. The only thing I asked them, was to pose with something dressed that they would think of as typical african (living here for long, or already born in Portugal, I got the feeling that they hardly knew what that could be... Well, they tried...).

I like these photographs, because I think that you can instantly perceive that the girls were amateurs, however they shone and possessed a lot of dignity. I am sure, that they had never posed in front of such paraphernalia, at least in front of such a big camera, but they seemed to have no problems whatsoever about that, they looked joyful and confortable at it.

Lots of natural talent!

I am very thankful for their patience and goodwill. They were very, very kind.

(I have already posted another photograph resulting from these sessions on a former post dedicated to the immigrants. Please be so kind and take a look, if you wish so).

The main light was in all cases provided by a Hensel Autolight.

The transparencies and negatives were scanned with an Epson Perfection 4990.

I can honestly assure you, that looking at a Fujichrome Velvia (with a lupe) in this format is just breathtaking and thrilling!!!

Well, at least for this old school fellow of yours... I hope that you enjoy.

Good night, sleep tight.

..

Raúl Lino - "Casa do Cipreste", Sintra, Portugal (1993)

..

Working on assignment for Editorial Blau, I came to know this absolutely wonderful project from 1912, in the small town of Sintra.

This is actually one of the houses that Raúl Lino (1879 - 1974) built for himself, and is known as the "Casa do Cipreste", a true icon of the portuguese architecture (maybe I should say "in Portugal" instead... In fact, I think that it looks more german than portuguese, what is natural, thinking that Lino studied in Germany).

Being considered by some to be a controversial personality in our 20th century cultural life, Raúl Lino cannot be ignored for sure. His importance and influence still lasts until today.

"Casa do Cipreste" is definitely a magic place full of charm and warmth, a place of outstanding beauty and harmony.

A place that I would undoubtedly love to call home!

The rectangular images were shot using a Sinar F2 camera in 9x12 cm/4x5 inches, equiped with various lenses manufactured by Schneider in Germany.

The square photographs were shot with a Hasselblad camera in 6x6, using Carl Zeiss lenses (Distagon, Planar and Sonnar types), also made in Germany.

Lighting equipment was made by Hensel in Würzburg, Germany.

Light meters by Sekonic and Minolta.

Ektachrome film by Kodak.

I would like to dedicate this post to the architect Luiz Trigueiros from Editorial Blau, a person to whom I owe a lot in personal and professional terms. He was the one who brought me to professional architectural photography, when I returned home from Germany in 1990. After some small misunderstandings that lasted for some time, we are now on good terms, and I was happy to see him and his wife again.

P.S.: Raúl Lino also designed in 1925 Teatro Curvo Semedo in Montemor-o-Novo, wich you might know from some other posts that I have done.

..