To be or not to be photography

Today we have lots of people to photograph, but they are far from doing photography.

The photo is of all the arts that has traveled and is traveling paths rather confused, these paths that have long been trodden by our American friends experimentalists. It all started half a century ago, shooting senseless, devoid of rules, create objects, where aesthetics, or any care more demanding technically speaking, no longer need. Currently we are experiencing what I call or nickname: "the picture of no photography".

It is evident that machines developed to a level where the requirements of technical knowledge are increasingly delivered to themselves. The young artists have long turned their backs to learn analog, thus embracing the facilitismo automatic. We are, in fact, in the digital age, but there is one thing they have not understood: it is necessary to know the whole mechanism, the entire process so that, in specific situations, they can master the machine and so come to achieve such Indeed, as desired, to create the imagined object. Today we have lots of people to photograph, but they are far from doing photography. Blame the current gallerists lack of training and understanding in this matter.

If there is something that bothers me formally, one is entering an art gallery and get out of there completely empty. Few photographers who touch me with your eyes, since the vast majority forgot to give your images that perhaps it never had; sensitivity and knowledge, essential elements to attack and thus involve the created object. Whether we are facing a landscape, person or object. Images devoid of emotional beauty, poetry, or any other important ingredient for its construction. Our gaze is constantly assaulted by poorly constructed.

What would be some time ago disregarded, is today the object of study and analysis. We live in an era of true misconceptions. There are lots of cats who want to impersonate true hares. Just the other day, one of my students asked, "What is the difference between the photograph and do photography." Rather, be between craftsman and artist. Everything stands in the way of attack and secure the object. And to do the noblest way, just as there is within us, beyond any knowing, that which is born already with each other, and that is not buyable or purchasable anywhere.

- To be a good photographer you need to have good machines? ... - No, no way! When we do not know to dance almost always say that the fault is from the ground, to be crooked? Clearly the good machines help, but are far from being essential for the appearance and construction of the magnificent and excellent photographs.

I was born for this art, as usual it is said, a former academic and photo lab. I learned to shoot in the darkroom, enlarger with an old man "Durst", equipped with Zeiss lenses. My first images were worked by techniques envisioned by me previously drawn through slots made with the help of a xizato in an area of ​​cardboard, cardboard that this occupied gently place the negative film in the door, and thus the luminous opening way that the bump on the white sheet, made magically appear as the desired images with the help of chemical developers, to then cling to the sheet, forever. Thus was born a kind of image I quickly dubbed "photo-graphic design."

An old friend of my father in conversation, revealed that he had long ago and the dust on top of the cupboard, an old lady camera Yashica MAT IN 6 × 6. The themes explored by me started as a portrait which is still a passion, passing immediately to the landscape where the element "tree" has almost always included, all in black and white. Only later did I venture through the use of color to make the call architectural photography and abstract photography, which in me rises or appears almost simultaneously.

Who is Isidoro Augusto?
Isidore Auguste was born in Portel Village High Alentejo - Portugal, an area very inhospitable and truly abandoned by the Portuguese politicians. In 1958 discovered the photographic still quite young, starting to play with the machines at 13 years of age. 

Debuted with a solo exhibition in Cascais, with 18 years only. Quickly get some notoriety. Goes to work with some names of Portuguese literature. Abandons Sociology, to devote heart and soul to the photographic art, being a freelancer in various institutions. 

Makes picture in advertising for a living. His images are published in various art magazines such as "Arts Colloquium", Calouste Gulbenkian Foundation (Lisbon), "Bible" (Lisbon), "Photographie" magazine (Paris), "Egg" (Canada), "SHOTS" ( USA), "Silvershotz" (Australia), among others.