Giacomelli once again: ‘paesaggio-agricolo’ and ‘la buona terra’

Mario Giacomelli, born in Senigallia, Italy on 08/01/1925 and died in Senigallia on 11/25/2000, was a great Italian and world photographer, but he was also a typographer and painter.

Continue reading “Giacomelli once again: ‘paesaggio-agricolo’ and ‘la buona terra’”

[new topographics of são paulo state, brasil]

I understand that these photos show the tremendous strength that the sugar and alcohol (ethanol) industry has in Brazil, especially in the interior of the state of São Paulo.


But – it seems to me that there is always a but or more than one – it is a type of industrial activity that, although it has improved a lot in terms of negative environmental impact in recent decades, still causes environmental impacts and many of them are still unknown and difficult to be properly evaluated.


But, in life, we often look at certain issues from the lyrical side and I want to focus my attention on this aspect of what I do and see these photos that I take, even though I can’t get rid of the memory of the aforementioned social and environmental impacts.

>>>country home>>>

[I want my country home with sheep, goats, horses and cows solemnly grazing in my yard; let it be neither small nor big, just the ideal size; that it contains a small lake ahead so I can see the reflection of the sun setting while sipping a good cachaça from an alembic; that contains my books, my records, my photographs and nothing else(*)]

(*) inspired by the lyrics and music of Jose Rodrigues Trindade and Luis Otavio De Melo Carvalho – “Casa no Campo” – and sung in the voice of Elis Regina.

Four very small rural chapels beside the road.

Within my project of New Topographics of the Interior of Brazil I photograph in my trips very small rural chapels beside roads in very small towns where the roads usually pass alongside them or in the middle.


These polyptychs that I present are from chapels in the south of the state of Minas Gerais, southeastern Brazil, which is a region very prodigal in this type of historic architecture. Some of them are simply a delight.

Can we mimic/emulate/imitate/copy (or just try to) great masters in photography? I guess so…

I’m (almost) absolutely sure you won’t believe it: I never seek to mimic/emulate (or using a uglier word in this case: imitate, copy) photographs of great masters (of all of us photographers, I believe), but this ghost (if it’s really a ghost he’s a good one) chases me….even though, premeditatedly (this is another thing I don’t think you’ll believe), I never go out to my photo shoots with that idea in my head. But, they keep happening through the years. Here I show SEVEN examples.

Continue reading “Can we mimic/emulate/imitate/copy (or just try to) great masters in photography? I guess so…”

{why landscape photography enchants me}

I wonder: why black and white landscape photography continues to entertain me, to enchant me over the years?…I think it’s for many reasons…but I wouldn’t dare mention the main one…only I know that I am more enchanted with each passing day that I photograph landscapes like the ones I share now…I hope you like it…leave your comment that I would greatly appreciate…

{like a tattoo}

{like a tattoo} – [I was born: I grew up: I raised children and grandchildren: I lived and live in a place where time is another time; another dimension; a time that is more peaceful, like the dairy cows that lie down motionless and sleepy in the pasture at night: they stay there, quietly and slowly ruminating all night; on nights of pitch-dark darkness it is only known that they are there through the feeling of their warmth, their smell; through the little noise their teeths make when they chew; nor do their usual mooing be heard; my feelings do not fit the description in words; I am not good with words; I like them but I don’t even know if they exist to describe it in a way that the other feels them as they really are; I am only good with the feeling of feelings; those who have already felt them, those who have already lived them have stuck them deep in their skin: like a stain: like a sticky sap of a jackfruit tree: like a tattoo: they leave with us when we go to another world]

Paths and crossings

In the middle of the path there was a stone

there was a stone in the middle of the path

had a stone

in the middle of the path there was a stone.

I will never forget this event

in the life of my retinas so tired.

I’ll never forget that in the middle of the road

had a stone

there was a stone in the middle of the path

in the middle of the path there was a stone.

[in the middle of the path – poem by carlos drummond de andrade]

The different paths we take in life can bring us pleasant memories or make us remember how many stones we find in the middle of our lives. This beautiful poem by Carlos Drummond de Andrade has exactly this meaning that, alluding to my photo of a path in a sugar cane plantation in the interior of the state of São Paulo-Brazil, brings to mind the hard path that rural workers in their daily hard work travel every day. A path full of stones, not easy to be walked. Only the strong make these crossings.

THE MEMORY OF THE PATHWAYS AND THE PATHWAYS OF MEMORY.

The paths have many memories and the memory has many paths.
I think this is true because I have many good memories of the paths that I have gone through in my life and my memory goes through several paths. My memories of these places, people and objects that were part of my imagination, of my past follow different paths. These memories are dear to me for several reasons or ways.
As Boris Kossoy has already written (IN: Realities and fictions in the photographic plot. Editorial Studio. 4th edition. São Paulo. 2009 – in Portuguese): “photography is memory and is confused with it”.