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    Lfi 2021 5 Ynpbwx

    Uploaded by

    MissYu

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    © All Rights Reserved
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    of 96
    Eolo Perfido Alfredo Cunha ‘Sarah Caron’ PORTFOLIO LIGHTBOX F/STOP Alfredo Cunha He washrought up with photography froma young age but irsthad to discoverhis own vay ofapprosehing ‘tsthestarting point fora ity year career Cédric Roux A visually powerful photographic declaration ‘oflove forthe southern Frnch port, which bests witha pulse that is very much its own, Eolo Perfido Folo Perfo loves to portray actors. The Italian photographer isamazed by their ability Sarah Caron The Mohana of Pakistan are traditionally at home onthe water yet many members ofthis ethnic sroupare forced to give up their way of life Heiko Hellwig Inthese 120 0 does looks though the Siamese fighting fish were Sovann pastogophed oy dancing toa complex choreography open Rome 208 ALFREDO CUNHA FIVE DECADES OF LEICA PHOTOGRAPHY ‘over fourand a hardecadestle between these images:in 1973, the Portuguese photographer ‘wasstilla the ery beginningof hriscareer, workingat the time with Leica M3\and there have been many'eamera generations between that MS and the Q2he uses today, However, Cunha, uit, “I dow differentiate between analogue and digital’ technology is not important, The most important things the picture. appreciate the democratisation that has.been made possible thanks(o digital photography, and Thope that the new enctationof photographers will be sx happy as Lam in my longeareer.” We are presenting selection from Cunha’ latest ‘book, which is dedicated tohis Leica Years, SARAH CARON HEIKO HELLWIG Hehasslready workedwithLeieaS | and Leica M eamerss, but twas the Leica SL2 that turned out to bethe perfec co for Heike Hellwig's Grand ‘alle series, The German phatogra- pher reveals some ofthe tricks heused toachieve his enchanting moti of the small and nimble Siamese fight “The French photographerSarah | ingflsh. “The pcture quality an the Caron, hasbeen reporting on Paki diversity the SL2 hast offer took staneversince 2007. Itwasin that | myworktoa whole new evel," heex- country thatshefirstheard about the | plains.“Combined with theabsolitely Mobana.aka third people avery | exceptional Leica lenses, there's noth unique ethnic group steepedin tradi ing that could be beter tioa, that an claim a history that soesback thousinds of year. “The ‘encounter with the nomads living in the st ofthe ostingvillageson Lake Manchar, in Sindh Province, strongimpression on me. Thr dre ‘mati situation was alot worse than anything could have imagined ofa creative der Eaten leheliaeton ee Sano CEDRIC ROUX ‘eimrenlonetie Re phoogranercapars el aoe etre “Trend? ord yond the actual remember the exact mom ‘conditions of te pistres zach time, Team remerter the P¥ Title detaisthated me Cedric Rouxexplainsin aie Consideringhis unusual 9°" tives from Marseille He idee Foot spice" truly photographie mane nel issurelythe em His courage and humanist perspec- tive have yieldedto an unparalleled life’s work. Alfredo Cunha is one of Portugal’s most significant pho- tographers. In acareer that spans five decades to date, he not only documented his home country of Portugal, but also reported from more than 100 countries around the world. We are pleased to intro- duce a portfolio of his work. 10 ws He has capturedhalfa century in pie- tures, Alfredo Cunha’ earliest works featured in Leica Years stem trom 1970. These portraits imagesof music ciansand street scenes were spr ‘neous recordings ofthe photogs: Dher's everyday surroundings - but ‘theyalso document the beginnings ‘ofhisown professional path Cunha’s father and grandfather were photog- Taphers by trade, From the tender age ‘of seven, he was helpingout in the darkroom and accompanying his father toweddings ~ though he did so with- ‘out much enthusiasm; for him, the rou: tinised assignments ofa studio pho- tographer held litte appeal, ‘Afew years later, however, Cunha ‘developed his own relationship with ‘the medium. Hestarted to shoot Portraits of friends, take pictures at concerts, and observe everyday life ‘on the strets of Lisbon, When he eve tually branchedout into photojour- halism, he discovered his true passion: capturing direct photographs, dedi- ‘cated to nothing but the truth. Over the years, he refined and perfected his eye, but his way of seeing never fun- damentally changed, Cunha’s photographs seem to ‘transcend time - such as his striking, image of a shepherd amidst hs lock (age 12/13), which was captured in 2007 but could just aseasilyhave been taken thirty years earlier. Regardless ‘of whether they are analogue or digh- tal, his images are primarily defined by their composition - which s always keptin black and white, Colour. the photographer maintains, would mere- lyactasa distraction, During Cunh’sfive-decade-long ‘career, his home country of Portugal ‘underwent many changes ~as did his photographicequipment. He has ‘come a long waysince starting out ‘witha Petri FT. From the early 19703 ‘onwards, he has elied on Nikon and Leiea cameras, embracing every {evolutionary step from the fist M3 to today's LeieaQ, 24 yun Akey characteristic of Cunha's work ishiscandid approach to photograph: {ng people. Europes humanist pho- tographers were among his earliest iluences, followed by the realists ‘of American photojournalism. Soi is ‘unsurprising that Cunha’s oeuvre is neitherromantic nor nostalgic. Instead, hhe accompanied Portugal's socal and political developments as an astute ‘observer. His images ofthe Carnation Revolution on April 25,1974, rank amonghis most important bodies of work It forms partofarich chronicle ‘of Portugal, which he documented inallits Facets Leiea Years takes the viewer through scenes of rural fe and hharvests, small-town workshops and village festivals, marchingbands and processions; we see the contradie- tions inlarge cities, demonstrations and political announcements s well ‘as everyday life on the streets, The final pags ofthe book suddenly show passers-by in face masks, as wefind ‘ourselves arrivingin the present day. Cunha’ career as aphotojournal ist alsotook him tomore than 100 countries. He documented the decolo nlsation processes f Portugal's former colonies in Africa, covered the fall ot Nicolae Ceauyescuin Romania, re- ported onthe Iraq War, eaptured the ‘devastation ofthe earthquake in Haiti toname ust afewofhis most impor- tant contributions. In 2012, he stepped back trom active photojournalism: however, thereare certainly nosigns of retirement: since then, he has pubs lished at east one photo book ayear, Drepared exhibitions and organised his archive. We had the privilege oftalk- ingwith the photographer: LPI: The images featured here ‘were taken from your book, Leica Years. How dimeutt was the selec- tion process for this volume? Alfredo Cunha: There were thou: sands of photos ta choose from, so {twas very difficult. Even now, Im still thinking of pictures that should hhave been included. {picked the ‘ones with the highest photographie ‘Quality and greatest significance as historical documents. =» [006 receton sgn tt cotor 9 Sota 00810 coset, POSE Len neg og 12 Shaper Leresotcre ey aay PoG6 5 a Aes, redilonlcteoct ng ‘ours otoction bogs e PoOe16 rns nanan ove tet scoe a Porat wearer mere 7098: Nosed a on P9620: Coxcos.ons Pope 2:tnbon tons 709822 he 5098 eet P09 25 tera, Mosonbae mn Poge 23: veetpw nda 09 00026 Cot an este sen my Yate CUM ae eka ot er ALFREDO CUNHA was born on October 8, 1953, in Celorico de Beira. 1n1970, he ‘worked as anadvertising pho- tographer before starting his photo-journalistic career at the newspaper Noticias da Ama~ dora. He served as the official photographer for Portuguese presidents Ramalho Eanes and Mario Soares, Since 1972, he haspublished over 30 photo books. He has received many awards, including the Order of Prince Henry in 1995. Alfredo ‘Cunha lives with his family in Vila Verde, near Braga (ee 2, Sammi 281717 Aiph Lookingat the portfolio we com- piled, i there an image that par- ticularly moves you? ‘Thescene leaptured in Nasiiyah, 1rag,n 2003.1 wasatan Talia military base, and tad left the build> Ingwithan officer ofthe Portuguese National Republicen Guard. Wesaid ood night to the guard, who told us tobecarefulon the road. Wegot into thjeep.anda minute aterthe ‘building exploded. Forty-seven I ‘ans ded in that attack. When they carriedaway the guard'sbody. took picture. The attack in Nasirgah (age 1/19) sill occupies my sind, and theimage you chose makesme thinkbackto that Halian soldi. ‘Asa photojournalist, there were probably many times when your was indanger? Yes butescapingdenth by one minute in Nasiiyah was very meaningf. It waslikestartinga secondlife. Bvery- thingin my mind became clearer, and 1 finally understood that I could die at anytime, Up unt then, 1 ft as ‘thought was immortal. Even though you hive been strictly freelance since 2012 there has been no respite inyourlife. What your driving force? Photography is ke breathing cant stop taking photographs, leant stop publishing yet busier every day. {Ym somewhat shamed to say that 2020 was one ofthe most prodactive ears ofmy ie ‘What should a young photogra~ pherdo,in order to stand outin ‘8 orld that is always and increase ingly flooded withimages? ‘This generation of photographers {s probably the most well-prepared ofall tine. Butt sas the most ‘poorly treated, Sometimes they have topayin order tobeabletowork And thats not even the end ofit-Theadvice I wouldgive them i keep working never ive up, fightfor your pictures, and have your ownidentit. That’. ‘what wildstinguish you from the sea ofiimages produced every day. ‘What role family tradition play inyour choice of career? And how was your relationship with your father who, just like your grandfa- ther, was also a photographer? Photography has beena part of my family for more than 100 years. as supposed tobecomea photographer ‘out of family tradition. Asateenager, I rejected the idea because Thad already ‘been working in the darkroom, and photographing weddings and chesten ings, since was seven. My fathers response was tomake me doit. Later Trealsed that hehadboen right ‘Would your father beproud ofyou today? Despite thecareer ve had, Im sure my father would be critical of my ‘work, Decaise he did not believe in aSmm photography. Inhis day, he consideredit to bea format forama- teurs My father worked witha Linhot xs inch camera and aRleilex. ‘When Thought a Leica he laughed {ny face. But my father taught me ceverythingthere sto now about photography. The 15 years I spent ‘workingforhim are point of refer ence to thisday. He taught mehow io ‘print, retouch negatives, photograph {nmediumand large formats, and to alway value my materals and equip ‘ment. Ironically, Meals taught me hov to colorise photographs. You have always preferred shooting Inblack and white -why'is that? Black and white has always been my language. During my various attempts at polychrome photography, realised that colour distracts me from what is ‘rsenlal nid introduces unnecessary noise. Forme, what matters most isthe form, rather than the colours Do you dream in black and white? No, dream in colour unfortunately ‘Thankyou so much fr the interview: review uceicn TER 27 5 3810 cépRIC ROUX ‘The Parisianstreet photogra- pher hasbeen documenting dail life for a number of years, Hewon the Zooms 2018 pub- lieSfavouriteaward at the Salon dela Photo in Paris. Among ‘other places his work has been on display in Porto, Miami, ‘San Francisco and New York. 12029, incollaboration with Leica Camera France, he ex- hibited his Colors series at the Leica Store Paris. Thisyear he has self-published three fan- zines, Roux has been working with Leica since 2017, Suet photography trieson chance, Wistheparticularityofthe apparently casual encounter that has made this genre one ofthe most popular among photographers. Cédric Roux was 30 -yearsold when he fist dove intothat world the New Yorkity street scene With allits openness diversity and constantheartbeat the city ensured thatthe shy and hesitant photographer was to experience asteeplearningeuve and gainmore self-confidence. ‘Thatwas 2013 Since then, Reux ‘returned to France where he further builtupand perfectothi abilities asa street photographer. Hehas frequently felt moved tohead fr Marseille ‘dynamie cosmopolitan and rebetious city which, In Houxsoplnion, you wit either eome to lovee hate. tis this dynamism that forms the heat ofhis -Marsile Rebel serie When ou look at these pictures, the photographer's former hesitancy isnolongerinevi- dence. Trustinghis instincts, he has carefully observed Marsilles haetle and bustle, usingan unconventional visual astheticto document the traces off indelibly branded onthe ctyscape. Me captures smal, everyday stories and presentsthem on large stage - with people, animals and other assortedurbanities paying the leading role, When he sts oat to wander the streets he avoids carying to much theonlythinghe neads with himis his Lala Q Thielexibty was neccesary, because Rouxis particularly inter- ‘ested in spontaneously capturing the kind of fecting moments that inpass Ingare barely notice With this eres Lwant to pay tribute tothe eazy energy that fows ‘through thiseity everyday” the pho- tographer says explsningthe essence ofhispreect Hethen add, “Marseille {shome oa most independent type of perso, for whom the freedom actor plays animportant ole something absolutely want to convey in my pie- tures" Indeed his images express a vibrant energy where the viewerean almost forget the merilessinerti that ‘haraterised mucheflastyear-Itisin these times that aries like Merseille obellecan serve usrery well; after months oftockdows, it has the ispact of a qias-visulUberato ven thoagh thecitylightingand climate playright into the hands of ‘ery street photographer, for Rous, simeslywanderingaround Marseille ‘only halftie story Heknows pre- ‘dacly when ogo to certain locations tocapture the atmosphere he seeks. Ris hardly surprising then, like Joel Sternfeli’s American Prospects and the work of Garry Winogand, that the ‘world of cinema served as inspiration for MarseileRebell, However, the ‘arefullyselected backdrops would have been somuch es interesting Rowsxhad not also given great impor- tance to the chanee encounter. He ‘would often spend sates tracking his motif before hitting te trigger at ‘tie exzely right decisivemoment. Consequently, hisimagery brings together the exitngand the mundane ‘te bizarre and the banal resulting Inhis uniquephotograpbie signature the support of his frends an colleagues inthe French photo colle tive, Fragment, Roux recently sel published hispictures.Itwasa coura- seous step buthas proven more than vorthwhile-afterallitisafarbetter feeling whenyou can havea tangible ‘experience ofa photograph rather ‘han just seeitona sereen. "Due to the reduced production costs azine the safest format twas only the sell ‘marketing that was somewhat tring snd queuingat the post fice to mail them," he remembers, By this point, it has become clear ‘that photography is much more than just hobby or Roux. We ean look forward to where his next project willtake him. Heisconfident he wall soon be ableto once again explore ew grounds. “Divinginto the envi- ronment, obiering my sirrounding, tnd imagining backdcops for my ple tures this ll riggers ofa delightful feeling. Pm realy lookingforward to rediscovering this after this unusual an" DANO ROSSGKR Eolo Perfido cuances Forephotographe actors make ideo! sparing poriners From the perspective ot fle Periz, portray thems on opportunity forlearmork anere both sides velop the mage together. FRANCESCO BUZI, Rome 2021 EOLO PERFIDO ‘The passionate Leica photog- rapher and Creative Director ‘vasborn in 1972 toa French nother and an Italian father. Seli-taught, Eolo Perfido runs one of Italy's argest photo studios in Rome and has been ‘working in recent decades with renowned international advertising and communica- tions agencies. His work has been published in The New York Times, Vogue Russia, GQRussia, Vision and L'Es- presso, among others. cueHent tecoSL2 wih Apo Sum Sche28-« Aig ond po oro-tin: fast90-200 128, [AUICELUPPARELLL Rome 2020 “Sincel wasaboy.! have felt strong, sensitivity for everything that has to ‘do withthe visual representation of real orfantastie stories” EoloPerido recalls He runs one of lly largest photostudiosin terms of size and his ‘reative space is filed with pietures that tll real aswell as fantasiesto- les, He has been inthe business for ‘over 25 years, working for and with Digagencies suchas Saatchi & Saatchi, ‘Young Rubicam, and Grey and Blossom Communication. Initially self-taught, he has perfected his hand craft working with the greats of repor- tage photography having assisted Steve McCurry, Eliott Erwitt Eugene Richards and James Nachtwey on pro: jects in Burope, Aico, Asia and South “America, Perfido served asa Leica “Ambassador ftom 2013 to 2018 ands today ecertified Leica photographer and Leia Akademie tutor. Perfido has alwaysconsidered pho tography as away 9 grow: Over the ‘years his passion developed tobe= ‘come a exstingearect. He faces every

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