Smoking and waiting

Smoking and waiting

Apoyada en la pared, espera… Probablemente espera a que llegue su pareja para irse a comer juntos. Pero, ¿espera algo más? Quizá espere que su hipoteca acabe de pagarse, que su jefe no le grite, que su pareja sea más cariñosa con ella y un largo etc. En definitiva, que las cosas mejoren. Mientras tanto, se enciende un cigarrillo y mira con cierto aire de desencanto el futuro. Le sobra realismo, le falta ilusión.

Leaning on the wall, she waits… Probably, she is waiting for her partner to go and have lunch together. Is she waiting for something else, though? Maybe she expects her mortgage to be paid at last, her boss not to yell at her, her partner to be more affectionate with her, and a long etc. In short, she wants everything to improve. Meanwhile, she lights up a cigarette and looks ahead with a slight disappointment. She exceeds in realism, hopelessly.

© Photography by Alberto Pérez Pastor – © Text by Marta Gómez Ballester

Memories

Memories

Recuerdos (el pulpo)

Acodado en esta barandilla, acude a mi mente el recuerdo de aquel día, algo lejano ya: me veo saliendo del mar con aquel pulpo que había pescado para ti, mi amada princesa, más de un kilo de carne viscosa , amorfa y desesperada, agarrándose a mi brazo. Tú, que recostada sobre las rocas de aquel solitario malecón tomabas el sol desnuda, con crema solar factor 8, al sentir el frescor de mi sombra sobre tu cuerpo abriste los ojos y tu mirada se topó con mi silueta apolínea recortada contra el azul del cielo. “Mira”, te dije henchido de orgullo alargando mi brazo. Algunas gotitas salpicaron tu piel enrojecida por el sol antes de que el cefalópodo se deslizara en busca de la protección de tus grietas, únicos reductos de humedad entre las piedras recalentadas de aquella escollera .

Cinco horas después, mientras tus lágrimas saladas se mezclaban con el agua salada de la palangana en la que estabas sentada, aquello, por fin, comenzó a asomar…
Me dijiste que no querías verme nunca más, y yo, desde entonces, no puedo comer pulpo sin sentir la excitación de nuestras viejas noches de amor.

Memories (the octopus)

Leaning on this railing, the memory of that rather distant day comes to my mind: I see myself coming out from the sea with that octopus fished just for you, my beloved princess, more than a kilo of viscous, amorphous and desperate flesh in my arm. You, lying naked on the rocks of that breakwater having a sunbath with solar protection cream factor 8, opened your eyes when you felt the freshness of myshadow on your body and found my apollonian silhouette against the blue sky. “Look”, I said proudly while I stretched my arm. Some water drops fell on your reddened skin before the cephalopod slipped from my arm searching for the protection of your holes, the only traces of moisture among the dry hot rocks of that breakwater.

Five hours later, while your salty tears mixed with the salty water of the basin in which you were sitting, finally it began to appear…
You told me that you didn’t want to see me anymore and from that moment, I cannot eat octopus without feeling the excitement of our old nights of love.

© Photography by Alberto Pérez Pastor – © Text by Morasio

Meeting Larry Hallegua

Larry Hallegua is a great photographer I have met on Flickr. He shows us his surrounding world from an extraordinary humorous point of view.

“it could be quirky, very funny, fun or mildly surreal”

Larry H.

Crisps Are Yummy
Chips Are Yummy

What is for you street photography?

Taking my camera most places that I go, looking (sometimes hunting) for opportunities, being able to spot something extraordinary in everyday living, rarely without people, something interesting taking shape and pleasingly filling the frame of my camera’s viewfinder, it could be quirky, very funny, fun or mildly surreal, anticipating or noticing it is half the battle, capturing it in a pleasing manner, technically and aesthetically within the given moment is the other half.

Waterloo East - Limited Mobility Access Point
Waterloo East – Limited Mobility Access Point

When did you start taking street pictures and why?

I properly started towards the end of 2011 and the beginning of 2012. I began after receiving a big glossy Henri Cartier Bresson photobook simply titled “Photographer” as a leaving present from one of my jobs. I’d got into general photography using a manual minolta x11 in 2003 but hadn’t delved into street, until I properly sat down and studied this man’s body of work. It inspired me no end. At the time I had a canon 30d which I sold and purchased a Fuji x100 in order to give me the confidence of shooting up close, the smaller, lighter camera was a big help, and so my training seriously started.

Dog Protection
Dog Protection

For you, what is your best shot. Can you explain how you got it?

This is a hard choice, but one of my favourite shots is “ A Light Being” which was hanging in Urban Picnic’s gallery in the UK, during May this year, I was one of 30 finalists in Urban Picnic’s International Street Photography Competition.

It was shot on a cold evening in London’s Upper Street near Angel tube station. I spotted a big guy “marching” down upper street wearing a very big orange coloured furry coat (no doubt to keep warm in). I followed the character for about 1 minute trying to find the right time to shoot. As he entered a shopping mall and went on the escalator heading toward the cinema section, I knew my chance was coming. Using the Fuji’s in built flash I snapped him from behind just as he got to the top of the escalator, and his head was at the right angle, disappearing from the shot, replaced by a light conveniently hanging above him. In the background was a wall that matched the orange colour of the coat as well as a poster of a film with a girl and a light above her head. The flash lit him up nicely and at the same time showed his right and left reflection on the glass sides of the escalator.

Crisps Are YummyUntitledWaterloo East - Limited Mobility Access PointDog ProtectionUntitledSupermarket Sweep
Simply FoodUntitled - Press LUntitledPeep ShowA Light BeingUntitled

Larry Hallegua’s Favorites, a gallery on Flickr.

Any advice?

  1. Get a camera
  2. Look at some good examples of street to get you going (Henri Cartier Bresson, Martin Parr, Garry Winogrand, Bruce Gilden, Lee Friedlander, Vivian Maier, Alex Webb, Jun Abe, etc… as well as lots of amazing street photographers on flickr)
  3. Do not wait to be inspired, go out there and start shooting
  4. Shoot, shoot and then shoot some more
  5. Be confident and don’t be afraid. I shoot normally within a few metres of my subject or even closer. The more you do it, the more it will start to become very natural.
Supermarket Sweep
Supermarket Sweep

A book.

My first photobook, Photographer – Henri Cartier Bresson, as already mentioned, it opened the door for me and got me into the world of street photography.

Would you recommend a photographer or group to whom we should follow?

There are a lot of groups in flickr that are well worth following. Firstly, SPNC – One of the groups that inspired me in the beginning of my journey into street photography, and continues to motivate me as well as help me form a network with other like-minded street photographers, some of which have become very good friends. Other relevant groups are HCSP, – Me, Myself and I –, Shot Eat Shot, Small Growers Street Association, You are not a dinosaur, To Sleep, Perchance to Dream, iCyou …… to name just a few!

Don't Disturb
Don’t Disturb

Links

Mediterráneo

Mediterráneo

Lo que la niña no ve

Los niños tienen algo que la mayoría de los adultos hemos perdido: el presente. Por eso es necesario inmortalizar momentos como éste, en los que una niña ha sabido encontrar un instante en el ahora para observar el desierto de agua que se expande frente a ella.

Su mirada encontrará unos pequeños puntos que flotan en un horizonte ligeramente inclinado, un horizonte que se dibuja justo a la altura de sus ojos. Y después, más agua… hasta que, justo en la orilla, descubrirá a varias personas que le parecerán -y quizás lo sean- hormigas.

Y después unos coches alineados de la misma forma que ella lo hace al entrar al colegio, y después una carretera, y después una vía de tren, y después… un muro que nos impide verlo.

Lo que ella nunca podrá ver, y en eso usted y yo somos afortunados, es justamente lo mejor de esta foto: la espalda de una niña apoyada sobre una barandilla mirando hacia el mar. ¿Verdad que la postal es bonita?

What the girl is not able to see

Children have something that most adults have lost: the present. So it is necessary to immortalize moments like this one, where a girl has found an instant to observe the water desert that expands right in front of her.

Her look meets tiny points floating on the slightly inclined horizon, an horizon that appears right in front of her eyes. Later, more water and on the shore, people who seem ants.

She continues her search and finds lined cars, a road, a railway and finally, the wall that prevents us from seeing more.

She will not be able to see the best of this picture: the back of a girl leaning over a railing and overlooking the sea. Isn’t it a beautiful postcard?

© Photography by Alberto Pérez Pastor – © Text by Eloy Moreno

Amusement vs. Weariness

Amusement vs. Weariness

Observando la cara del señor de la imagen, nos entran las ganas de averiguar el contenido de la información del periódico. Está disfrutando, y es que las personas contentas nos atraen consciente o inconscientemente. Quién no se detendría a decirle: “¿qué estás leyendo?” ¿Y quién no bostezaría al observar la cara de la mujer de al lado? Y es que todo se contagia. Así que, señores, ¡vístanse con una sonrisa cuando salgan a la calle!

Noting the man face, it is wanted to find out the information content of the newspaper. He is enjoying, because happy people lure us consciously or unconsciously. Who would not stop to tell him: “what are you reading?” And who would not yawn by looking the woman beside? Everything is spread. So, men, women, wear a smile on your face when you go outside!

© Photography by Alberto Pérez Pastor – © Text by Marta Gómez Ballester