Close ups have this power to make us feel more the presence of the subject, because we can see more of its details, especially when looking at large prints.

This is a single Pale Coneflower and like all flowers it is beautiful at its own. But a beautiful subject does not make a good photograph, contrary to popular belief. A good photograph has more to do with how the subject is composed, framed, the angle it is portrayed and other things which all carry meanings that we read consciously or unconsciously, based on our cognitive experiences.

A beautiful subject can make us forget it all about the photograph and appreciate the subject alone. To be honest, this is a very simple photograph which caught my attention because of the beauty of the flower alone. But as a photographer I don't look only at the subject but at the photo as a whole, because it is from it where we find the photographer's expression that carries their personality, identity and sometimes messages.

What I like in this photograph is the flower leaning to the left side of the image and because of its shape it suggests a imaginary diagonal line crossing its extremities in the right and left side. Diagonal lines feels harmonious  and suggests dynamics, even if there is nothing happening it proposes that it is alive, symbolizing vigor.

The green leaves on the right side of the image point our attention back to the flower making it stand out  to our eyes as the main object. The leaves are also elements that help to compensate for the flower leaning on the left side of the image, creating a harmonic visual balance.

These two Fulvous Day Lily in the center of the photo feels powerful, as if asserting themselves in the scene. The reason for that is the combination of many visual aspects.

The first of these visual aspects is the centered subject. Normally, when the subject of a image appears in the center it suggest its presence affirmation and power. In the center of this photos we have two elements and both pointing in opposite direction of it other. Such composition characteristic visually indicates that they both have this asserting power independent of each other - reason why we see photos of bad-boys or bad-girls crossing their arms in the center of images giving their backs to each other.

An other point is the dynamism the composition creates; Because they are pointing each to opposite direction, from the center of the photo to its margins, it feels the subject is experiencing a wider visual field that we can't see, what we see is limited by the edge of the the photo. Even without seeing it, the feeling that there is a wider visual field being experienced by the subject of the image (no matter if such subject is just flowers or inanimate object) that is limited by the photograph edge, transmit the sensation that we are approaching the subject, or that the subject is the main attention around. Its presence is being strong asserted.

On top of that, which collaborate with the aspects mentioned above, there is the back ground leaves that despite blurred they form lines which feels as expanding from the center to the edges of the image, which I believe to be what gives a strong touch of dynamism feeling on photo.

When I decided to rely only on the natural sun light this summer (2020) for the flowers photographs I was a little bit apprehensive. It is because in the previous year I worked with strobe light and light modifiers for the better control of the light and shadow results. Relying on the natural light only means giving up such control and I wondered if it would be a big loss in my results, but it wasn't at all.

Without strobe light I switched to tele-lens in order to take more advantage of the shallow depth of field (DOF) - the blurred background - and enhance the main subjects.

Without mentioning the color and light contrast I feel the description above is what makes this photograph special.

​Cupid is the Roman god of love. He is the counterpart of the Greek god called Eros, the god of erotic love, the painful desire of what is not possessed, of what is somewhere else, inciting the imagination about the absent desired other.

Her eyes gaze at the void while she is deeply immersed in thoughts. Her hands as trying to reach and hold the pain inside. As Siri Hustvedt points out, the somatic experience induced by thoughts are no less real than a direct somatic experiences out in the world. Or as Hannah Arendt said, every emotion is a somatic experience. The source of our imagination and thinking are our feelings. Our feelings are the interpretation and meanings given to what our body senses experience. According to Antonio Damasio, the mind is a product of our body, not a distinct apart from it.

The image has a kind of movement, she is not still but moving, either in a bodily sense reacting to her feelings or in a mental sense of the dizziness, caused the mental travel.

Such movement in the image is not only suggested by her body expression and composition but also by the backdrop in a leaning position. The rugged backdrop is a curtain which suggest the scene is in a private setting. We look not as spectators of the scene but as a voyeur of what was supposed to be behind curtains. On the other hand, it also symbolizes a stage background of a performed act, like in a theater, like a fancy sculpture. 

I remember 15 years ago when I use to see people everywhere talking about the democratization of information and learning thanks to the internet, along with the democratization of expression where anyone can share their knowledge and opinions. The free information accessible  to all. It's ironic seeing fake-news and conspiracy theory popularized nowadays.

When I was about 14 years old, in 1997, bullying and other sort of offenses was considered kind of normal, at least in my neighborhood. Often such kind of provocation wasn't taken seriously despite of verbal aggressiveness. This kind of communication was somehow the standard nevertheless, meaning people verbally attacking and defending themselves with further attacks. It was in Sao Paulo (Brazil) which I believe to have an aggressive communication culture probably because of socio-economic gaps, along or as consequence of social segregation and prejudices. Prejudices often disguised as jokes.

In a weekend when I was returning home, I met one of my friends arguing with a bunch of other guys a couple of years old than us. They were calling him stupid and laughing at him because he said Alberto Santos-Dummont was the inventor of wrist watch. This was an information that I also believed to be true but back then I would never waist time and get angry trying to convince others about what I believed to be true. Maybe because life seemed to be already too stressful back then that I would rather avoid any more of it. So I called my friend inviting him to hang out somewhere else, and somehow helping him to distance from the situation he was in. Still stupefied while we were walking away, he was explaining me the other guys didn't want to believe on him. I replied to him suggesting to let it go. At that time I had not conceptualized it but I felt that there are many people who are not curious and interested to know things but only in self-affirmation. I feel I am right so you must be wrong (It has something to do with identity that I will expatiate in an other blog post eventually). Without any real argument to explain they are right they rely on verbal violence by offending and making the opponent angry, in order to feel as the winner of the argument. Honestly, this kind of conversation and its violence is what I see being popularized the most in the internet.

Recently I have been wondering if we really can teach others. My thinking is that probably people only learn things if they want to learn (curiosity or duty) or if the situation is conducive to learning. If such thinking is somehow true the goal of teaching is not only providing information but also help to create the situation that is propitious for learning. And this may be the reason why the internet is dominated by fake-news and conspiracy theory believers. A place where everyone can spread ideas of any kind in a moment of economic and, consequently, social distress.

When I began with street photography I was apprehensive about people reaction. What would they think? What if they get angry? I then thought that if there are others doing it I can do it as well. It was in Ireland where I had the mostly friendly strangers experience ever but my first attempt of stop someone and ask if I could take a portrait of them was considered a shameful failure by me at the time. What my subject said that made me feel ashamed was a single simple word: "No". So I went home frustrated for not obtaining what I was expecting. I watched some videos about street photography and one hour later I was in the street trying again. This time I told myself to not expect anything. If people says "no" it's ok and there is nothing wrong about it. Actually, we are supposed to take risks in order to learn and grow, in order to see what is possible and what is not, and in order to loose ties to expectations that narrow our perception about things. With this twist of mind I endured a couple of other "no"s  before hear a "Sure". From that moment on I felt there was nothing to worry about.

With experience I learned to improve my communication. Being more direct and specific, ask as a suggestion or as an offer and not as a expectation or demand. One of the main reason of violent communication is the thinking that what others are asking is an order instead of a request. People hate to do things when they are demanded to and the natural reaction is to reject. On the other hand we all like to feel useful and helpful. Antonio Damasio tell in his book Looking for Spinoza that our brain produce Serotonin, which gives us a well-being feeling, when we help or cooperate with others as a team. It's part of our empathy which make us place ourselves in others shoes, sensing others emotion and feelings as our own.

Marshall Rosenberg, who wrote No Violent Communication, tells a story about an interview with a Nazi war criminal, who was asked "Was it hard to send ten of thousand of people to death?", which he answered "No, it was easy. Easy because our language makes it easy".  He then explained that his fellow officers had a name for this language: Amtsprechen, the bureaucratic language. A language that denies option, consequently it denies responsibility. It is interesting to know that there are many people who can not distinguish between rule or law and morality, which is the same as  distinguish can and can't from should and shouldn't. When we try to obtain some kind of alternative collaboration for a solution which would help make all the parties happier or less stressed such kind of people are not able to do it, they start quote what they believe to know about the law and their rights, meaning "I can do it so I will not do what you what me to do". Basicly they view others request as demand and in return react in a defensive way. They don't understand the saying "Just because you can do it, it doesn't mean you should do it (in consideration of others)".

In Ireland, after I got used to it, most people I approached was happy to let me photographing them, which they saw as a request which they could help with. In Germany most of my attempts with street portrait result is rejection, some people even get angry with my approach and can become verbally violent. I see it as a social phobia, worry that I want do something bad with the photo such as judge them or use the image for commercial purpose. worry about what might happens with a photo someone took of them, where can it end and who can see it. Worry about my approach has a second intention such as sell things, demand money or sexual intention when I am approaching women. In short, a lot of expectations which place people in the fear zone.

I think the coolest Germans are in Hamburg, although I have not been in most German's region yet. It was in Hamburg that I met Lucie Nechanická. We used to meet and wander in the streets to photograph it together. When she saw me approaching strangers asking if I could take their portrait she looked apprehensive, saying that she would not feel comfortable doing it, which reminded me when I was attempting it for the first time in Dublin.
Even still doing it in Germany I didn't feel as confident and easy as in Ireland, so I approach people with less frequency. But have Lucie on my side was different because she is a woman transmitting other women a sense of safeness with my approach. They actually became more friendly thanks to her. It was most evident when I was waiting Lucie in a train station and around me there were other people waiting to meet their friends. I saw a woman with a cool outfit,  nice hair and interesting tatoo on her leg so I came to her asking if I could take her portrait. She looked at me with doubt and unsure but suddenly Lucie arrived saying "you don't waist time" to me. After my subject saw Lucie and realized we knew each other, she readily accepted to be photographed.

Street portrait in Hamburg is much easier than in other places I have been in Germany, but people still have some kind of fear about other people reaction. It's a different world than in Ireland where I could talk and photograph most people specially women without any tension, and I think it reflects in the way people communicate, in their expectations and consequently in how they learn and perceive other kinds of experiences.

Unlike when I was a boy, I have recently engaged in useless argument with people who didn't want to believe on what I was saying (in the internet), consequently I was annoyed and offended with others provocation, calling me stupid and names. Later on I was wondering why I was behaving like this. What changed? Did I forget my youth knowledge? And the only thing I could think about was my reality change, which created different expectation and frustration, therefore changing my experiences and learning. I am now in a process of no violence redeem.