❖ - .:. mgpixlab : the official blog | miguel gómez photography

The Timeless Photographic Past. Part II.

2012-01-10T12:01:00.013-05:00

From 1920 to 1940 photography witnessed an incredible evolution. From the austerity and the immediacy of reportage to the careful study of living things and their presence in all forms.

It might well be one of the most significant periods in the history of photography, as it was able to produce images of both great quality and artistry. Here are some of the finest works of the era.

My personal preference for Edward Weston's work forces me to include two of his photographs in this brief selection.

More to come.

Young Girl In Circus Caravan - 1926 © August Sander

Jealousy - 1928 © László Moholy-Nagy

Snake In Bucket - 1929 © Imogen Cunningham

White Bryony - 1929 © Karl Blossfeldt

Lovers in a Small Cafe Near the Place d'Italie, Paris - 1932 © Brassaï (Gyula Halász)

Nude With Parasol - 1935 © Martin Munkacsi

Nude (Charis Wilson) - 1936 © Edward Weston

LZ 129 Hindemburg - 1937 © Murray Becker

Nude Floating - 1939 © Edward Weston

Thanks 2011 & Welcome MMXII!

2011-12-31T15:20:00.006-05:00

2011, you are leaving the building.

Thanks for the ride! It was exciting... it was fun, -sometimes rough, sometimes hard.

Really a gigantic learning experience overall.

Thanks to all the people I've had the joy of meeting, sharing, and working with throughout this year. With all due and over, it's time to kick it out in style.

MMXII: I look forward to you meeting you with love and respect. : )

The Timeless Photographic Past. Part I.

2011-12-28T16:59:00.010-05:00

It has been a while since I published my last post. 2011 has been such a busy and wild ride in one too many ways. As a consequence, only the holidays seem to allow enough time to reflect on the days that have passed.

In photographic terms, I have put together the following compilation of historical images that have moved me. I like to call it "The Timeless Photographic Past". A reflection on how these images are always present, and yet always far. The gap that separates these works from the production of images that we see today is significant in the sense that they remind us of a commitment towards our own photographic work. These photographs provide much of the inspiration and impulse for the impending arrival of 2012, which I feel will be a year of challenges, hard work and accomplishment.

Part I of this post is a brief selection of some images from the first 20 years of the XXth Century.

Photographers & Album Covers

2011-06-15T15:00:00.000-04:00

Time to pay tribute to the work of many photographers involved in making some of the best album covers ever.

Their names and credits are largely ignored by the general public.

Respect is due : )

Enjoy these jewels.

Note: This post will be expanded with new pictures every so often.

David Bowie - 1973 - Aladdin Sane © Brian Duffy

Iggy & The Stooges - 1973 - Raw Power © Mick Rock

Prince - 1987 - Sign O' The Times © Jeff Katz

PJ Harvey - 1993 - Rid of Me © Maria Mochnacz

Bob Dylan - 1965 - Bringing It All Back Home © Daniel Kramer

Pink Floyd - 1967 - The Piper At The Gates of Dawn © Vic Singh

Roxy Music - 1974 - Country Life © Eric Boman

Patti Smith - 1975 - Horses © Robert Mapplethorpe

The Rolling Stones - 1967 - Between The Buttons © Gered Mankowitz

Depeche Mode - 1982 - A Broken Frame © Brian Griffin

Pixies - 1988 - Surfer Rosa © Simon Larbalestier

Miles Davis - 1959 - Kind of Blue © Jay Maisel

New Order - 2001 - Get Ready © Juergen Teller

The Who - 1971 - Who's Next © Ethan Russell

Jane's Addiction - 1988 - Nothing's Shocking © Perry Farrell

Placebo - 2003 - Sleeping With Ghosts © Jean Baptiste Mondino

The Beatles - 1969 - Abbey Road © Iain McMillan

Blind Faith - 1969 - Blind Faith © Bob Seidemann

Joy Division - 1980 - Closer © Demetrio Paernio

Bauhaus - 1980 - In The Flat Field © Duane Michals

Yoko Ono / John Lennon - 1968 - Unfinished Music No. 1: Two Virgins © John Lennon

Lenny Kravitz - 1991 - Mama Said © James Colderaro

New Order - 1986 - Brotherhood © Peter Saville

Pink Floyd - 1969 - Ummagumma © Aubrey Powell + Storm Thorgerson

Sonic Youth - 1986 - Evol © Richard Kern

Lenny Kravitz - 1995 - Circus © Ruven Afanador

The Beatles - 1967 - Sgt. Pepper's Lonely Hearts Club Band © Michael Cooper

Bill Evans / Jim Hall - 1962 - Undercurrent © Toni Frissell

The Jimi Hendrix Experience - 1967 - Are You Experienced © Karl Ferris

One random photo a day from 1989-2011.

2011-02-01T14:12:00.000-05:00

I started a new project this year, and since 1/1/11, I have been uploading one random photo per day from my 1989-2011 archives. With all sorts of work, some very hidden "vault" images may appear there from time to time.

This will eventually grow to be an ongoing project for the rest of my life.

Below is a screenshot of the first random post.

You can find the project by clicking on the following link:

http://www.mgpixlab.tumblr.com

All material on Tumblr © Miguel Gómez 1989-2011.

2011 : Your Star Will Shine

2011-01-01T14:11:00.000-05:00

Thanks 2010 & Welcome 2011!

This is my card to welcome the New Year. A message for everyone I appreciate.

For a long time I used to send these cards on a yearly basis and via e-mail to most of my friends and connections. Friends will always be able to see it and find it here in the blog.

May 2011 be a year of great success for everyone. XXX

+ ♥

September - NYC

2010-09-25T20:00:00.000-04:00

Here I am in the greatest city in the world.

I have moved to NYC!

Urban exploration plus lots of fun and Safari experiences coming.

This was the last picture I shot before coming back to this amazing monster of a city. Expect more soon about all the latest excitement.

Urban Exploration + London

2010-06-15T16:35:00.001-04:00

London is a city of many contrasts. Everywhere you look there are exciting sights waiting to be captured. Day or night there is always something thrilling or interesting going on anywhere you point your eyes (and camera).

From the world famous landmarks to the more hidden, unexpected and even secret locations, London has it all.

While living here I've been photographing the city permanently -for more than 2 years and a half.

In doing so, I have re-lived the experience that first draw me into photography.

Before my fine art work was a priority, or even before dedicating myself to portraiture, fashion and editorial work, the visual excitement cities provide had always been (and still is) of great interest to me.

The thrilling experience of photographing the urban is something any photographer who comes to this city will never regret.

Soon I'll be starting a new workshop, focusing on the urban and one of the most exciting cites in the world: London.

The Path Into the Light

2010-05-20T08:15:00.000-04:00

Hello all.

Well, it's been a while!

Busy, busy cities, work, love, action, dreams.

Even the landscapes are moving.

Here's a path into the light.

Many things are happening. : )

The most recent news is the update done to the website.

A new gallery, with commissioned commercial work is now live on it.

Browse around freely @ www.mgpixlab.com

Soon, more REALLY exciting news to come.

Be ready!

Two Quotes

2010-02-07T21:10:00.001-05:00

Originally uploaded by - .:.

This shot was done in Frankfurt, Germany in the summer of 2003.

I've been browsing through my archives and decided it was about time to upload some of the things I've done in the past that were just there, gathering dust. My Flickr stream is quite diverse anyway, just because I haven't uploaded anything based on specific or chronological dates. I upload what synchronizes with what I'm feeling, according to my mood of the day, and since I have a particular fondness for everything I've posted here, time becomes irrelevant, and disregards -in a way- the styles that I have adopted or have influenced me throughout my career.

Some of the oldest images in this stream are from 1989, when I was only 15 years old and started considering the camera as my everyday companion. I'm still trying to put the correct dates on them - it's not an easy task. But anyway, the images live forever, whether they were done today, yesterday or 100 years ago.

I found two quotes that seem particularly interesting regarding this matter and make me wonder about the time I've spent being a photographer:

“It’s weird that photographers spend years or even a whole lifetime, trying to capture moments that added together, don’t even amount to a couple of hours.“– James Lalropui Keivom.

“Twelve significant photographs in any one year is a good crop” – Ansel Adams.

Both quotes, incredibly true and brilliant, leave a question mark in the air. But the time for answers floats around as well, and cannot be grasped either. Either way, loving what you do will send a whisper in your ear again, right before your time has come.

Fly

2010-01-01T15:00:00.000-05:00

That is the wish.

Last year of a decade. The best is yet to come.

2009-12-31T15:00:00.000-05:00

A busy year has been spent in the preparation of a new thing to come.

I've been away because of that.

But wow, what a ride this year has been.

I'm glad it will be over soon, because I can't really wait for all what's coming on the horizon.

2009 is almost over.

2010 is about to be born.

A New Decade.

A New Life Better wishes and Dreams.

All about to come true, for all.

We'll get there.

To all the people who shared with me - even from a distance - the honour of your friendship, and company throughout all these years, all my gratitude.

See you next year.

All the best from London.

Happy Xmas and the best wishes for 2010.

Miguel *

The Integration of Photography and Art

2009-05-25T07:50:00.001-04:00

An Essay in Historical Retrospect
by Miguel Gómez

Out of the many successful means of human communication, there seems to be a particular one that is subject to continuous judgement or questioning. Photography, a relatively new medium amongst the classically accepted branches of art, permanently passes through the spying glass of our modern day culture. Although it has been present in human life for a couple of hundred years now, and however common our encounters with it occur on an daily basis, it is inevitable for the curious mind to be wondered, amused or even doubtful about the thoughts that a strong photographic image brings to the consciousness of its spectators.

Everyone has been thrilled at one point or another by the power of images. This inherent capacity to amaze individuals is still present no matter how much time has passed since we first saw (or took) that initial photograph.

The desire to investigate the qualities and capacities of the medium is by no means irrelevant. Efforts in this matter, of course, can be overlooked, and the reason is quite simple: Photography is virtually everywhere and the unaware passer-by can underestimate it, or be oblivious to its influence. In other words, its own visibility may make it unrecognisable as Art.

People may like it or dislike it, but the presence of photographic images seems to have replaced words in many aspects. The fact that we can stumble upon photographs in almost any context of our daily lives therefore raises a question: How can something so seemingly common and omnipresent be classified as Art?

Intrinsically present in all human beings, Art is a tool for expression and communication of emotion, beauty (ugliness at times) and stands as the representation of thoughts, feelings and ideas. Only limited groups of people have the capacity to embrace this inner resource and actually do something with it. It is commonly accepted that Architecture, Painting, Sculpture, Music, Dance, Literature, and Cinema are the classic group of arts, (“The Seven Arts”) and that it is necessary to have a formal training in them while also having a continuous or relevant production of works in each particular chosen field to be considered an artist.

Yet again, most people do not practice photography as art. Photographers (dedicated ones), go one step beyond when the camera is in their hands. When a “real” photographer is about to take a picture, a set of intentions further from the basic ones before mentioned, comes to fruition. If the result, that is, the photograph, brings together the author’s emotions and the action of thought, but more especially, if it conjugates these two within a certain concept (chosen and deliberate), it can be considered as something truly artistic. Sometimes, the product of chance may also bring about artistic results. This occurs when a photographer’s view has been polished to such a degree that makes the action of shooting seem effortless. However, it took some time before these processes were recognized as meritory, or even worthy of praise and admiration.

Photography gained recognition as an Art form thanks to the effort of masters and pioneers such as Alfred Stieglitz and Edward Steichen. Stieglitz particularly, was very determined on establishing the recognition of photography as an art form in the United States. Believing photography could only be regarded as art if it was put side by side with important paintings and sculptures, Stieglitz formed the “The Photo-Secession”, various exhibition spaces like “291”, and journals like “Camera Work”, ventures that contributed enormously to the expansion of photography in the art world. Many years later, in 1955, Steichen organized a massive project: “The Family of Man” exhibition, which could be categorised today as a reportage collection that nevertheless classified images according to an artistic standard.

Imogen Cunningham, Ansel Adams and Edward Weston, in turn (amongst others), continued working with exceptional skill throughout the 20th Century. The quality and craftsmanship that characterised their work proved their degree of commitment, which was also embraced by Richard Avedon, Irving Penn, and later on by William Eggleston (who pursued colour photography). As a human form of expression, opposed to the simple result of the handling of a machine (which was one of the major stances against it being considered an art), photography had finally earned a position in the list of the fine arts. This position however, was not yet as preponderant as it is nowadays.

It seems surprising that even up to the 1970’s it was not very common to see a photography show in the world’s most important galleries and museums. Today, the situation is quite the opposite. The art world is embracing photography with great interest, and more importantly, many photographers are considering galleries, museums and publications as the ideal platforms to showcase their work. Group and retrospective individual photography exhibitions, twenty years ago were not considered as significant as they are today.

The historical development of photography as an art form seems to resemble the never-ending growth of branches on a climbing plant. Even though there is no definitive connection between the works of classic and contemporary creators of the medium, many new names in photography seem to compile previous efforts of their predecessors. Some of them instead, revise with poignant attitude the purpose of being a photographer, disregarding basic traditional principles, namely technique, in favour of achieving a particular style or “look and feel”. The output they produce is continuously being acknowledged as Art as well. So how does this occur?

Photography is brought to the Art scenario today in many different ways. One particular method in which contemporary photographers gained credibility as producers of Art was by documenting happenings, performances or installations that were registered with the camera. Initially, the results of photographing modern expressions like “Land Art” might have proved sufficiently inspirational or justified for many photographers as they could now name the photograph “the work of art”. The result (and the proof) of the preconceived work could be now exhibited and sold. (The actual physical piece was impossible to transport or even move from its location). This strategy then moved towards other types of works done in a minor scale which involved the creation of a piece and the resulting photographing of it. The work of the Spanish photographer Chema Madoz can easily be placed under this category.

Other approaches include staged photography (also called Tableau photography), which has gained recognition in the art world too. It involves storytelling through images in which a set is constructed and a story is recreated by means of characterisation, and the use of props. In a way this type of photography seems to match the intention that traditional painting had for centuries. Jeff Wall’s work is certainly classifiable within this genre.

Opposed to this very formal methodology of constructing images, there is a rather emotionally detached approach to the creation of photographs. A large percentage of contemporary photography is constructed without a dramatic or hyperbolic meaning and it is based on a deadpan aesthetic. This vision is principally present in architectural and landscape photography (it may also involve portraiture or other subjects, but the result of these images is always very stark and uninvolved). This type of register requires a large printing format since it involves the sudden appearance of many different details, which can only be seen through magnification. Patterns and unexpected elements in the image suddenly become noticeable in the enlarged print and these patterns point out both a particular element of intrinsic order (or chaos) in things, and also signal a way of seeing those things. Andreas Gursky’s work is easily recognisable under this category. But what makes this type of photography artistic? It is a difficult topic to deal with, but most critics would agree that it has to do with its political observations: the identification of a hidden pattern or behaviour both in human conduct and in the structure of things. There is also a similar approach in the so called “Aftermath” photography, in which the photographer does a reportage of an already finished event and documents the remains of it, making references to abandonment and desolation in an unemotional manner.

Photography has also arrived to a point where the documentation of irrelevant subjects gains aesthetic value. Everything all of a sudden is worthy of being photographed, including rubbish. Ordinary things become extraordinary when they are photographed. This process is artistic in itself, as things can be appreciated in a different perspective, with a different light, and become empowered with a fresh new character. Gabriel Orozco’s and Felix Gonzalez-Torres’s work are representative of this trend. The detachment from the objects is still present as in the deadpan approach, but since the subject matter is closer to the photographer, a certain degree of involvement is noticeable.

Which brings us to the documenting of personal and intimate life through photography. Nan Goldin is characteristically loyal to this method. The value in this aesthetic relies in the revealing nature and almost “confessional attribute” present in this method of work. The degree of involvement in this kind of photography points out the hidden: The dark side of human relationships: something that could be considered too much of a private affair to be put in a family album, which generally portrays representations of happiness. The genuineness present in this kind of work increases the regard of these images as Art.

Another way of making the work of a photographer gain credibility and a significant amount of recognition has been through the observation of his or her commercial work. Photography of this kind (and not only photography purely regarded as Fine Art) can also represent in many cases, artistic standards, and it can be classified eventually as museum material. Earlier works by the likes of Avedon or Penn, who worked in fashion and commercial photography throughout a big portion of their careers, proved to the public that as long as a photographic image was capable of representing and generating emotions, the gap between the two seemingly different photographic practices was no longer existent. Helmut Newton’s work has been elevated primarily to this category. The barrier had been broken. Images of commercial impact were now regarded as valid as any traditional artistic work like painting or sculpture.

It can be said without hesitation that photography has evolved from its infancy as a novelty and then as an apparently second-class competitor of painting, into a highly appreciated form of art. The massive popularity the camera initially had, made the Art world somewhat skeptical of its capacity to convey real artistry, regardless of the beauty it might capture. The public itself, who had the same opportunity as any professional artist to work with this medium, also nourished this widespread perception of photography as a technique rather than an art form.

The main difference between the intentions of Fine Art photographers and the general public’s usage of photography resides in the fact that the capacity of portraying ideas, concepts, emotion and skill is completely different in nature when done with artistry.

One of the main intentions of art has been to mirror life, and in a very deliberate way, photographers through their efforts, have been mirroring life and art. As a newcomer, photography had to struggle with legitimising itself while art never had a problem in being recognised as such.

Photography has had to live with the rise and fall of its own movements just like many other art forms. Some of the early movements in the medium like Pictorialism dealt with the desire to make photography be regarded as Art. Nowadays, this desire seems to be irrelevant; the virtue of photography has long been seen as sufficient within the very characteristics of the tools it employs. There is no longer any need for artifice. Movements have therefore spread out into trends that have given birth to new genres. In other words photography standards have undergone a metamorphosis in the last 50 years in which many established parameters are in constant revision, which means the medium is still alive even more so as an art form today.

www.mgpixlab.com : version 3.0 : Online

2009-05-01T16:20:00.000-04:00

I'm very happy to announce that Version 3.0 of my website has just been launched on April, 30, 2009.

It will be updated frequently and feature a more comprehensive view of my 1991-2009 work.

Browsing of the images can be done now in 2 ways: By shuffling method and through the Galleries + Projects links.

"Projects" will be released very soon.

See you all there.

Miguel

Fotográfica Bogotá 2009

2009-03-20T23:25:00.000-04:00

Time has passed and I've been away from the blog for many reasons, none of which are particularly relevant to my photography work.

Distractions, occupations, changes in mindset, busy life in London, missing home, some certainties (and some uncertainties as well) have been keeping me away from blogging.

The new year started in a quite unprecedented manner, and major changes have been happening to me on a personal and private level - especifically during the winter time.

Seasons change and winter was a particularly strange period, to say the least. I'm glad to say it's over and Spring is bringing about positive changes. Things are getting back on proper track.

I've been invited to Fotografica Bogota 2009.

These are a couple of images of the series I will be showing at this important event. I'm excited about this. : )

Merry Xmas & Happy New Year

2008-12-24T16:00:00.000-05:00

OK, 2009 : I'm waiting for you.

Hoping it will be really good for each and everyone of us.

My best wishes for these holidays and for the newcoming year.

Miguel.

Turning Point?

2008-11-12T13:13:00.000-05:00

I feel many things for this image and the many changes happening lately.

Shot this Sunday afternoon in Green Park, London.

A Photographic Intention : No Country For Old Men + Blow Up

2008-11-10T06:05:00.000-05:00

Apart from working really hard these days on the selection of images for both virtual+printed portfolios and the new version of www.mgpixlab.com I have spent many recent nights watching films before going to bed.

These films have all an amazing photographic intention.

But the one I'd like to mention first is "No Country For Old Men". As popular as it may be, there is definitely a reason. It is more than a blockbuster. There's much more to it than the casting, than the props. There is something in this movie that goes further from the typical stereotypes of what is considered a good film.

It had a deep effect on me. I will not talk about the plot or script but its photography direction is simply superb. The quality of the colour, the composition, and the effective portrayal of an era (by means of photography direction) puts the viewer in the intended year (1980) perfectly. I find this very compelling. It's a notorious ability. Regardless of the logical characteristics of a situation supposed to be happening in the past.

In a certain way the film reminds me of one released 42 years ago with a completely different subject: Blow Up.

The silence used... : For me THIS is the key. The Silence. It is so present in a majestic way in both productions that it becomes an amazing tool for the enhancing of the photographic feel and therefore, I would say, the spirituality and transcendence behind such different stories.

As silence taught me a lot in these two films, I'll reflect on this topic a bit more for now, and will probably find there is nothing more to say...

Green Light for the Website Update

2008-11-06T16:30:00.000-05:00

Today I spoke with the team in charge of the re-launch of my website.

The process was stuck due to me and them being extremely busy. But now I have given green light to the start of the update. It will signify a major economic investment. But it is completely worth it.

After a long period of almost a year of expectation it's now time for the site to be completely updated.

Exciting times. Version 3.0 is growing up. I think I'm definitely growing up as well, and another surprise is on the way... but that is just a secret for the moment. : )

A breakthrough...

Selection of Images

2008-11-05T13:40:00.000-05:00

I've been quite busy these days trying to organise the photographs in my archive.

It is not an easy task at all. I've discarded many images which I feel don't stand the test of time or were simple light tests but did not succeeded as proper photographs. I have sent them directly to the bin and they have been deleted forever.

I've found some hidden treasures as well: Images that were either scanned from film and left for further post-processing and cleaning, and others from digital folders which were downloaded into my hard drives and I had never even seen (in detail) before.

I miss the dark room and manual printing, but it is an unaffordable process to do at the moment in London. I would need more space and my flat does not have enough for this purpose. The digital days are fully settled now everywhere and I am living this process myself too. It is not bad at all.

I'm sure a day will come soon in which I'll be able to do some manual work again. For now, back to Adobe Bridge.

The motto of the day is: Select, choose, print/publish soon or discard.

Recovered : An Interview

2008-11-04T14:35:00.000-05:00

I gave this Interview to a Colombian University newspaper in early 2006.

The context seems pretty much the same for me, some two and a half years later. But some thoughts have changed as well. I'm posting the register of those thoughts.

I guess some of them remain unchanged on certain topics, but I am continuously challenging my own perceptions towards Photography and Art. Soon I will be able to describe how some of these thoughts have changed.

The interview has been recovered from my original first blog and was given while I was still living in Bogotá.

Here it is.

First in Spanish.

In English, below.

Miguel Gómez
Fotógrafo.

*Entrevista Realizada y Publicada por:
*Universidad de la Sabana - Facultad de Comunicación Social
*(Bogotá-Colombia)

Universidad de la Sabana : ¿Qué hace de la Fotografía un Arte?

Miguel Gómez: Considero que el arte está presente de manera intrínseca en todos los seres humanos, pero sólo algunos poseen la capacidad de asimilarlo como una herramienta expresiva de la emoción y del pensamiento. Cuando una fotografía une, o conjuga emoción y la acción de pensar, pero por sobretodo cuando conjuga emoción, es en algo verdaderamente artístico. La fotografía comercial (y no solamente la concebida como Fine Art) puede en muchos casos representar emociones y a la vez tener el rótulo de Fotografía Artística. El trabajo de maestros de la historia de la Fotografía como Richard Avedon o Irving Penn quienes hicieron Fotografía de Moda y Comercial durante gran parte de sus carreras, refleja contundentemente que mientras haya en la imagen fotográfica la capacidad de representar y generar emociones, el resultado se convierte verdaderamente en un arte tan válido como la pintura o la escultura.

UDLS: Cómo describe la evolución de la Fotografía durante el período 1950-2000?

MG: Fue un proceso de muchísimos adelantos técnicos y de masificación de la Fotografía como herramienta profesional y popular tanto en lo artístico como en lo comercial y [hasta] en lo lúdico. El hecho de que se profesionalizara también le dio un status. A la vez todo el mundo tuvo acceso a las cámaras fotográficas en este periodo, no sólo los profesionales, y fue muy común que la gente aficionada tuviera pequeños laboratorios y cuartos oscuros caseros. La fotografía también se legitimó como arte gracias al trabajo de grandes maestros como Alfred Stieglitz, Ansel Adams, o Edward Weston que a comienzos del siglo XX se esforzaron muchisimo para que luego otros como Helmut Newton, Cindy Sherman, Elliot Erwitt, Henri Cartier-Bresson, Jeanloup Sieff o los mencionados en la respuesta anterior, legitimaran el trabajo fotográfico a mediados del siglo y hasta el año 2000 como expresión humana y no como el simple producto del la operación de una máquina.

UDLS: Qué se necesita para captar la imagen perfecta en el momento perfecto?

MG: No se necesita la mejor cámara del mundo ni la mejor tecnología, aunque obviamente esto también puede ser determinante en algunas tomas, pero: Se necesita paciencia, voluntad y ojo, además de la necesidad casi fisiológica de lograr una buena imagen. El fotógrafo que no se satisface a si mismo no satisface a nadie tampoco. Debe ser complaciente consigo mismo y tener también siempre un fuerte sentido auto-crítico.

UDLS: Cuál ha sido la foto más difícil de tomar pero más satisfactoria para usted?

MG: Es difícil recordar una imagen de manera especifica cuando hay tantos negativos y copias rondando un archivo personal. Hay fotografías que pueden ser supremamente satisfactorias y podrían venir casi que del azar. Una fotografía en la que concientemente debí hacer un esfuerzo y logre el resultado deseado podría haber sido tomada en un túnel en una carretera en Venezuela, dentro de un vehículo en movimiento.

UDLS: Qué foto no ha podido tomar todavía?

MG: Creo que siempre la mejor foto habrá de ser tomada mañana. Todos los días tendré la necesidad de hacer una imagen mejor que cualquiera de las anteriores.

UDLS: Que le espera a la Fotografía Colombiana en unos años?

MG: Que el trabajo de los fotógrafos sea respetado y entendido como la memoria del país, sea a nivel comercial o artístico. Muchos fotógrafos han dejado de trabajar por el simple placer de obtener una imagen bella y más por la satisfacción del “cliente”, quien muchas veces no tiene una apropiada educación visual y se conforma con imágenes aburridas y simples. Por esta misma razón el concepto generalizado del ciudadano común hacia el fotógrafo es indiferencia. El reto es crear imágenes atractivas. Por otra parte, en Colombia el desconocimiento de la historia de la Fotografía es sorprendente, y no sólo de la Fotografía Internacional sino de la Nacional. Luis B. Ramos, Melitón Rodríguez y otros maestros [colombianos] han quedado en el olvido. El fotógrafo colombiano debe mirar en proporciones iguales hacia adentro del país como al extranjero. El fotógrafo debe enamorarse de su trabajo y conocer mucho más el trabajo de otros y entenderlo como esfuerzo mutuo y no como una competencia poco sana. El romanticismo por la profesión está muy desdibujado y hace falta más compromiso en este sentido. La fotografía es cuestión de observación permanente. En Colombia nos olvidamos de observar.

También espero que a la vez el sentido profesional de responsabilidad social y estético de parte de los fotógrafos colombianos como colectivo, sea cada vez más comprometido hacia la educación visual y la investigación, y que los resultados no vengan del azar y la improvisación, sino del amor por la profesión.

UDLS: Cuál es la misión del fotógrafo ante la realidad que está viviendo el país?

MG: Creo que en un país como Colombia y retomando el punto anterior, la misma condición social impide la observación de la belleza. Acá el trabajo fotográfico [la mayoría de las veces] o es publicitario, o es reportero. En la fotografía artística colombiana se está trabajando en muchos casos (no todos) de manera muy egocéntrica y con temas generalmente muy banales. Pero siendo este un país de paisajes, montañas y colorido absoluto por doquier creo que el fotógrafo tiene la responsabilidad de mostrar la belleza de las ciudades, la gente y los campos más que la responsabilidad de mostrar violencia, miseria o egocentrismo.

UDLS: Qué opina de la tecnología actual para tomar fotos?

MG: La tecnología hace las cosas aparentemente más sencillas. Esto es verdad en cuanto a la fotografía aficionada, pero no aplica para la fotografía profesional. Ayuda mucho pero implica cierto nivel de compromiso, La fotografía profesional que cuenta con la tecnología digital como fundamento implica un gran conocimiento de la teoría del color y de los sistemas de impresión además que un dominio completo de programas de computador y software de retoque. Además la manera de capturar una imagen en fotografía digital se diferencia de la manera análoga en la idea de exposición. Ahora se expone (se captura una imagen) de manera contraria. Se necesita mucho estudio, y la tecnología sólo brinda resultados satisfactorios con un permanente trabajo de investigación y dedicación. Los avances tecnológicos siempre son positivos. Pero al mismo tiempo, el trabajo manual de laboratorio y químicos tiene una calidez incomparable. Yo creo que la tecnología y lo que ahora muchos ven casi como artesanal en lo análogo siempre pueden ir muy de la mano y complementarse.

UDLS: Qué le hace falta y cual es la mejor virtud de la Fotografía Colombiana para ser reconocida a nivel internacional?

MG: La verdad creo que la fotografía NO es colombiana, uruguaya, argentina o norteamericana, o que se pueda clasificar como un fenómeno nacional. La fotografía es (y más en este mundo actual globalizado) una herramienta de expresión personal y no-nacional, así que a pesar de que el trabajo de un fotógrafo colombiano pueda diferenciarse bastante del trabajo de un fotógrafo iraquí o japonés por simples condiciones sociales o culturales, el valor que sobresaldrá no está dado tanto por la nacionalidad del autor sino el por la cantidad de corazón y buen gusto que ponga en su trabajo. La Fotografía Colombiana si la llamamos asi, ha contado con grandes exponentes. El trabajo reciente de Ruven Afanador está casi en la categoría de lo hecho por Penn o Avedon. Tiene mucho corazón y gusto.

UDLS: Se podría decir que su pasión es la fotografía, por qué y cómo vive ese sentimiento cada día? Cuál es esa razón que lo motiva cada día a tomar nuevas fotos?

MG: La memoria hace que uno sienta o piense que las cosas son mejores o peores de lo que son. Por lo general la Fotografía tiene la capacidad de mostrarnos el mundo que queremos o a veces, el que NO queremos. Ver una foto de la Segunda Guerra Mundial me hace querer que el mundo no sea [así], o lamentar que haya sido así. Ver una foto de un paisaje natural me hace sentir en paz. Yo tomo fotos y amo la Fotografía porque pienso, o sueño, que quisiera habitar cada vez idealmente en un mundo representado por alguna de las imágenes que detenga en el tiempo con la cámara.

________________________________________

A test shot (just found / Nov.2008) from the film days [1999].

[Some old Canon FD lenses and extension tubes]

Shot on Mamiya (medium format) polaroid film.

ENGLISH TRANSLATION OF THE INTERVIEW:

Universidad de la Sabana : What makes Photography an Art Form?

Miguel Gómez: I believe Art is intrinsically present in all human beings, but only few have the capacity to take it in as a tool for expression of emotion and thought. When a photograph conjugates emotion and the action of thought, but more especially when it conjugates emotion, it is something truly artistic. Commercial Photography (and not only photography regarded as Fine Art) can represent, in many cases emotion, and, it can be classified as Artistic Photography at the same time. The work of such masters in History of Photography as Richard Avedon or Irving Penn, who worked in Fashion and Commercial Photography throughout a big portion of their careers, strongly reflects that as long as a photographic image is capable of representing and generating emotions, the result becomes Art as valid as painting or sculpture.

UDLS: How do you describe the evolution of Photography during the 1950-2000 period?

MG: It was a process consisting of many technical improvements and at the same time it resulted in the popular expansion of Photography as a professional tool, both in the artistic and commercial fields (and even in the recreational ones). In fact, as Photography turned into a professional field, it gained a new status. Everyone had access to cameras during that period. It was not an exclusive tool for professionals and it was a common thing for enthusiastic people to have small, homemade labs and dark rooms. Photography gained recognition as an Art form thanks to the work and effort of masters such as Alfred Stieglitz, Ansel Adams or Edward Weston who at the beginning of the XXth Century, put a lot of effort so that others in turn, such as Helmut Newton, Cindy Sherman, Elliot Erwitt, Henri Cartier-Bresson, Jeanloup Sieff or the ones I mentioned in the previous answer, were responsible for consolidating photography from the 50's and all the way into the year 2000, as a human form of expression, as opposed to the simple result of the handling of a machine.

UDLS: What is required to capture the perfect image, and, at perfect timing?

MG: The best camera in the world is certainly not needed, nor the best technology, although this can be a determining factor for obvious reasons, and for certain purposes. But, patience, will and an eye, added to the almost physiological need to get a good image are the things that are required. A photographer who doesn't please him/herself does not satisfy others either. A photographer has to be self-pleasing and at the same time, have a very strong self-critical spirit.

UDLS: Which has been your most difficult, most rewarding shot?

MG: It is difficult to remember one single specific image when there are so many negatives and prints floating around in a personal archive. There are extremely satisfactory photographs that almost came out as a product of luck and chance. One photograph on which I had to do a conscious effort and achieved the desired result, could have been one shot inside a tunnel on a road in Venezuela, inside a moving vehicle.

UDLS: What picture have you not been able to take yet?

MG: I think the best picture has to be done tomorrow. Every single day I'll feel the necessity to do an image that tops all the previous ones I've done.

UDLS: What is the outlook for Colombian Photography in the coming years?

MG: The work of photographers has to be understood as the memory of the nation, be it commercial or artistic work. Many photographers have stopped working for the simple pleasure of getting a beautiful image and keep doing it more each time for the satisfaction of a "customer", who most of the time does not have a proper visual education and is easily pleased by simple and boring images. On another note, the prevailing ignorance of History of Photography in Colombia is rather surprising, speaking both on the international and local evolutions of the medium. Luis B. Ramos, Melitón Rodríguez and other Colombian masters are sadly stuck on oblivion. A Colombian photographer should look out of, an inside the country in equal proportion.
A photographer has to be in love with his/her work and must try to get to know the work of other photographers and understand it as a mutual effort and not as unhealthy competition.
The romanticism for this profession is vanishing, and more commitment in this sense would be desirable.
Photography is a matter of permanent observation. In Colombia we keep forgetting about the action of observance.
I also hope that the professional sense of responsibility of Colombian photographers (as a collective) in social and aesthetics, results in a more committed visual education and investigation, and that the results of these efforts don't come as a matter of chance and improvisation but rather from the love for this profession.

UDLS: What is the mission of a photographer facing the country's current reality?

MG: I believe that in a country as Colombia, and according to the previous point, the actual social condition stops people from noticing beauty. Photographic work here is done most of the time for advertising or graphic reportage purposes. In Colombian artistic Photography on the other hand, most (not all) of the work that is currently being done is very ego-centrical and most of the time touches very superficial topics. But with a country as this, full of natural resources and colourful landscapes, I believe the photographer's responsibility is to show the beauty of the cities, the people and the villages or countryside rather than more violence, misery or egocentrism.

UDLS: What is your opinion on today's technology for shooting pictures?

MG: Technology apparently makes things easier. This is certainly true for non-professional Photography, but not as much for professional Photography. It does help a lot, but it requires a level of commitment if it is to be embraced. Photography that relies on digital technology on a professional level needs a good quantity of knowledge from the user: Theory of colour, printing systems knowledge and software tools must be mastered. The way of capturing an image in the digital process is opposite from the analogue method, regarding exposure. Much time is required to study all these topics and technology can only provide satisfactory results if it is accompanied by hard work and research. Technological progress is always positive. But at the same time, manual work with chemicals in the dark room has an incomparably warm look and feel. I believe that technology and manual craft can always go hand in hand, and benefit each other.

UDLS: What is Colombian Photography lacking, and which is its greatest virtue in order to be internationally recognised?

MG: I honestly don't think that photography can be classified as Colombian, Uruguayan, Argentinean or North-American, or that it can even be classified as a national phenomenon. Photography is (and even more nowadays in this globalized world) a tool for personal and non-nationalistic expression. In that order of ideas, even though a Colombian photographer's work can be quite different from that of an Iraqi or Japanese photographer (due to simple cultural and social differences), the value that will prevail in his/her work will not be given by his/her nationality but by the amount of heartfelt input and taste present in it. Colombian Photography if it can be called that way, has had great representatives. The most recent work from Ruven Afanador is almost at the same level of what was done by Penn or Avedon. It is heartfelt and it has a good amount of taste.

UDLS: One could say that Photography is your passion. Why, and how do you experience that feeling day by day? What is the reason that moves you to create new photographs?

MG: Memory makes us feel or think about things being better or worse that what they really are. Generally speaking, Photography has the ability to show us the world the way we want it to be, and sometimes the way we don't want it to be. Seeing a picture shot during World War II makes me want the stop the world from being that way, while seeing an image of a natural landscape makes me feel at peace. I shoot pictures, and I love Photography because I think (or even dream) that I would like to be an inhabitant of a world represented by any of the images that I freeze in time with my camera.

New Start

2008-11-01T21:00:00.000-04:00

Hello.

The original mgpixlab blog was hacked about a year and a half ago.

After that happened, there was little I could do to recover it.

There was not too much help from the Blogger team at the time to be honest, even though I followed all their instructions to report, and try to fix the problem.

I must confess that I still appreciate the fact that they do have a platform for freedom of speech, so I simply decided to stop complaining and open a new account.

It has been a long time before deciding to return to this (virtual) platform.

My last post on my original blog was dated June 4, 2007. I was living in Bogotá, Colombia back then. Now I have lived in London for almost a full year, working hard on my Photography, as usual.

Today I'm re-starting because I did manage to recover most of the bits that were posted there, thanks to some weird stroke of luck.

This is the new Official mgpixlab Blog. One day hopefully, I will recover the original name of the blog (official still sounds a bit too much for me, but I guess there was no other good option).

It makes sense in the end anyway, because I will be the officer, or at least, the one in charge of it again.

Welcome, once more

Miguel

ps.

Some of those original lost posts will be re-posted (and updated/translated) here, very soon.