Abelardo Ojeda
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Cinemafia: Your body of work spans many genres, from journalism to fashion to lifestyle. Yet, there seems to be a common theme or connection between all of your photographs that is difficult for me to describe. Could you tell me how you feel about the different kinds of work that you do, and how they might all come together?
Abelardo Ojeda: I think I’m looking for stories; there’s always a story behind a good image, you can feel it in a landscape, in a face, in the composition that suggests something you usually never see. Anyway, most of my work focuses on portraits or places that show you somehow the human existence.
Cinemafia: You have many examples of street photography, or perhaps street documentary, in your stream that is taken from daily life in Mexico City. Being one of most highly-populated urban areas in the world, I wonder if you’d talk a little about the unique dynamic of approaching and photographing people there. In Los Angeles, there is a culture of suspicion and contempt for many people who photograph strangers in public, and I wonder what are the similarities or differences there in Mexico City.
Abelardo Ojeda: Indeed, most people don’t want just to be photographed, it’s kind of invasive. I believe the key is to get closer in order to make a great image, to tell a story; it’s about being human. Most photographers use the camera to take “snapshots” that only show the surface, not the real person. That happens with places too; a serious photographer needs [to be] going deeper, to share yourself, be a friend. I bring always with me an iPod touch with my portfolio to show my portraits - that works great to give an idea that I’m a serious photographer.
Cinemafia: I wanted to ask you about something you put in your flickr profile, and it has to do with the idea of the photographer and the camera, a kind of “man vs. machine” concept. This is a an important discussion because it is true that many budding photographers get caught up in buying the best camera and gear and lose sight of what it is they’re trying to do. I wonder if you can talk a little bit more about this - give us some details as to why it’s not the equipment but the eyes and brain behind it.
Abelardo Ojeda: Cameras are only tools; when you need special equipment [it] is because you have something in mind. I think most of those “photographers” don’t have a clear idea of what they want. It’s the same with software.
Cinemafia: You state that good photographers are seeing and investigating a scene before they shoot it, which could almost lead one to believe that the photograph is secondary to the experience itself. This idea makes one wonder what a photographer really is, beneath it all. What might be the role of the photographer, then, if what they produce is not as important as what they see?
Abelardo Ojeda: I think is part of the same process and it happens very fast. Good photographers produce what they see. That is not precisely the reality as is; that is far more complex, an interpretation. As an example, when you use black and white [it] is maybe because colors are not your main subject. The investigation happens before, at the moment, and later, it happens as you see.
Cinemafia: I always ask about words of advice for burgeoning photographers, and here I make no exception. What do you think is the single most important thing for people who are looking to make a career out of photography to do? What do you think is the least important?
Abelardo Ojeda: My advice is to get involved as much as you can with your subjects, and not less important, to develop a style.
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Evg3 Photography
http://www.evg3.com