It's a pleasure to be here tonight. I was here about 12 years ago and I came back again.
We'll be seeing a few pictures that will project in a few minutes about mostly of what I did as a
photographer in all my life. In reality, the presentation here in Boston will be split into two parts.
One will be this one that I will be doing here tonight. In the most recent part of my work that is the
Genesis project, I'll be presenting on the 5th of May in the Museum of Fine Arts
And well, it's interesting. If people come to see the other,
you have an idea of a whole body of work
that I did in all my life alone.
I believe that [inaudible] to understand
what I understand now. At six to nine years old,
I probably did the first body of
work would be Genesis, started from Genesis,
that was normal to start from
there. But, it took me all my life, 60 years,
to understand how to-- if I had to present my work as a circle, Genesis was the completion of this circle.
But always, too, I want to tell a little bit of my life that I believe that would be used to understand
the kind of photography that we did,
because photography is meant to be strong,
as I show here. Sometimes people
can interpret us as very hard and tough
photography with beautiful life, lights, and people with a lot of dignity. But sometimes it's very difficult
for the people that are here in this very protective society, very rich society of the north of the planet.
But what I want to tell to
you that these pictures have presented
the big majority of the population of
this planet, the most important part of
the humans live in these pictures that
will be shown here tonight.
And we assimilate into our society. Sometimes we live
downtown Boston, nice areas and we don't
pay attention that in the periphery of
these big towns in the United States,
that life sometimes is not easy. I believe that these are the  most important points;
that you can see these pictures are reflections of life, but not on how America protects life.
It's the life of all of our planet, of our human beings, that we are part of this just one tribe.
Well, I want to tell you that I was born in Brazil. When I was born in 1944 in Brazil, Brazil was not yet
a market economy. I was born in a farm and I lived in this farm until I was 15 years old
and I must tell you that I grew up in a
kind of paradise, a real paradise was a
It was a big cattle farm. More than half of
this farm was covered by a rain forest
with incredible birds, incredible animals, a lot of water. And we had a lot of cattle, it was a cattle farm.
But I had freedom in this huge amount of land. I took photos. I used a light in a certain way in my photography.
I'm 100% sure that the lighting that I use in my
photography came from there.
Before the rain season in this area, it is
so incredible, the light, so beautiful.
We have incredible clouds, light across
the middle. All of this is a very real area in Brazil.
We have the idea of mountains, one inside the other, and you have this idea of infinite length.
When I was a child, I learned travel a lot because when the cattle was ready to go to the slaughterhouse,
we were in horses for about 45 days traveling to bring the cattle there,
and to come back was a little bit more fast. It took about 20 to 25 days to come back.
That means we're traveling for more than
two months on the road and the
properties gave the base for what I
didn't know in my long life.
After I was a little bit bigger, I had finished the
first part of my secondary school.
We have my small village, my small town, just
beside the first part of secondary school.
I migrated to a more big town,
Paul Vitoria, in the society.
And there, for the first time, I saw the poverty.
I saw the radicalization. I learned politics
was the moment that Brazil started to be
less of a rural country. It started to have
a kind of celebration for urbanization.
When I was born, Brazil had more than
92% of a rural population. And today, 50 years later, Brazil has 92% of an urban popluation.
For example, it took Europe 400 years to become an urban country. It took Brazil 50 years.
That means I lived inside an incredible social process of radicalization, politics, creation of the working class,
creation of industry. The country did not have a market economy. It became become a semi-industrial country,
a developing country. Today, it looks to become a developed country.
But you imagine that I had the privilege,
in a sense, to live a moment like this,
you receive a lot of honor in a society like
this. And going to this town Vittoria,
I became an activist in politics, a young
activist in politics. I made my universe.
I found my wife Lélia, and we've lived
together now for about 50 years.
Next year will be 50 years that we are
together. And we migrated together from
Vitoria to Saõ Paulo where I got a
Master's Degrees in Economics.
There, they are linked with the leftist movement in
Brazil. The fight against dictatorship,
in the moment, was necessary for us. Or, we would go with a weapon in hand
to fight against dictatorship or go
out of Brazil. As we were very young, I was
say 25 years old, Lélia was 20 years
old. In the organization that we were a part of,
we made a decision that was bad at
once to go to a foreign country
because it was a time of huge repression in
Brazil, a lot of torture.
And we had gone to France and we spent about 11 years in France, without coming back to Brazil.
We lost our passports. There were big fights along with dictatorship in Brazil.
And in Paris, I did the preparation for a
PhD in Economics and I went to work
in an international organization. This was when I discovered photography.
Lélia was doing architecture school in France. She bought a camera to take photos of architecture
And I had a big chance to discover photography. I had 
never had taken one picture in my life,
and I saw for the first time the
world through a camera lens
and something changed inside me. But I wanted
to work as an economist in an
international coffee organization and
doing the missions to Africa.
When I came back to London, I lived in London at this time
photography gave me ten times more
pleasure that the economic reports that
was necessary to prepare for the project
that I was working on.
We made a decision together that I leave economics and become a photographer.
And in 1973, we came back to Paris and I became a photographer.
And I tried many times to do
any kind of photography; to do sports,
to do landscape, to do nudist. And one day, I don't know why I was completely
inside social photography. Of course, coming
from where I come from, doing what I did,
social photography was
normal, the most normal thing in my life.
I met people that told me I 
was an activist photographer, that I was
a photojournalist, that I was an anthropologist photographer. I was none of these things.
Photography was my life, much more
than anything, it was my life.
I believe that it was interesting 
because it made may happy or made me angry
to organize in a
way, we organize in a way,
because we did all together all of our lives.
I went to photograph. Basically in the work that I did in my life, I work in bodies of work.
Very few times
in my life, I did some photography here,
some photography there. I did bodies of
work. I started doing work in Latin America.
We are refugees in France, no way
to go back to Brazil, and I started to
work in the accounts in periphery of
Brazil, Uruguay, Bolivia Peru, Ecuador.
And when we finished this, there was a big
repression in Brazil in the '80s, I was supposed to
come back to Brazil and go to Mexico and Guatemala.
This first body of work is called "Other
Americas." I letter designed
the first book and I letter design all of my books.
And I did my first body of work. I was an
economist and I was supposed to see that
a lot of work, well, productive part of the
planet was changing. with the arrival
of the computers in the line of
productions with the intelligent
machinist and with robots. The
first big industrial revolution was finishing.
In other words, an economist is 
an activist close to the working class.
We created a project called "workers."
We went to try to do a kind of the whole
measure to the working class all over
the world. I was gone for about five
years to do the body of work in more than
25, 30 different countries. And that became
a book called "Workers," with shows that
we show all over the world, over the water
here in the United States. We have this
book published here by after two and we
publish this book in many different
countries. Working, doing this body of work,
it was possible to see with this new,
huge industrial revolution, the human
family start to compose in a
completely different way.
The mind that was agricultural can become
a huge industrial country.
Huge migration was going to the spawn production. 
China, India was the same and we created a
project called "Migrations." And I worked for
about seven years to photograph this all
over the world that became a book. 
More recently, we created this
body of work called "Genesis." In reality,
everything that I did in all my life
was this kind of storage that works
completely integrated to then linking together.
It's this sample of this work
that will be showing here. We'll be seeing a few
pictures from this first part of the
work that is called "Other Americas."
After, we have a group of pictures of the "Workers."
A part of the pictures of the books that I did
in Africa in part of "Migration" will be
about 120, 140 pictures. I'm not very
sure on the pictures, but it's about 22 minutes. We have very nice
music for the one contemporary composer
called Henryk Górecki. He is from Poland
and the symphony will be 
together with this music. And after,
we will go for a small discussion together. Thank you very much.
[applause]
My name is Christopher James. I'm Director of the Graduate Program at the Art Institute of Boston.
And thank you very much for
coming. Sebastião, your work is
absolutely beyond comprehension. It's so
beautiful, thank you.
[applause]
What I'd like to do tonight is first, ask
Sebastião a question and then he would
like to entertain some of yours and
we'll go until around 8:30 or so.
Thank you. I'm beyond more words than
that. It's stunning.
I first met you 30 years ago when you and Bruce
Davidson and I went swimming in France,
and I had no idea that I'd be
sitting here with you 30 years later
in awe, but I am. There's evidence in your
in your work that it's not enough of the
photograph itself to show that there was
a problem, but there must be
evidence as well that there is a
solution within that photograph.
In a conversation with you last night, you
indicated that in order to be effective,
it was necessary for you to penetrate
the circle of your subjects, to integrate
yourself within their lives, to
participate in that integration, and that
would ensure that your life and the
lives of your subjects and the life of
your pictures, over time, would come
together to create effective change,
especially in the context of the
institutions that use them.
My question to you is that over time, as the years go by, are you aware of how your images
change due to time and also due to
context?
I apologize, but I don't understand very well the question yeah have your
images that you made 30 years ago
Have your images, that you made 30 years ago, changed meaning for you over time
and in the context that those images are seen? In other words, the glorified atmosphere
of a museum, for instance, versus that of a newspaper page?
No, it doesn't change anything for me. 
In reality, you first thought of this image
because "you must do" is my language of photography,
and I was photographing something that I 
was deeply concerned with.
The first reason that I went was just because it was necessary to go and I put
myself, I put all my time and these
photographs are my life
I cannot say that some moments  in my life were more
important than the others.
These photographs, they were used for many humanitarian organizations. They are published
in newspapers, they are in museums, we have
collectors that I have them.
But when you photograph them, you photograph
because you must photograph.
And after. if where they go and when people see then and they are made to see,
they accomplish the treasure tour
and I complete my life.
I have about six, nine years old, and about 40 years that
I've been doing these pictures,
and in the end, it is my way of life. This
photography is my way of life.
And when you do a rational analysis, you can put together an explanation for anything.
But, the real explanation for this that everything that I was concerned with then,
I went to see and I photograph with my most deep sincerity, with my ideology, with my ethics.
In reality, I try to have, or I had, one kind of coherent line of life in this photograph, in my art.
Thank you. Would someone like to ask a question?
Yes.
How do you get the trust of the people that you get so physically close to?
You know, this kind of photography, you
can do it if you are real motivated to be there.
You cannot go spend five years
doing one story, as with "The Workers," I spent
five years doing the work. "Migration," I
spent seven years doing these pictures of "Migration."
And I spent months and
months with people that I lived with there.
And I remember I did the body of work
that a few pictures were there in Africa with
a doctor at the border. I became a doctor at the border. I didn't go to a
school of medicine, but in this month, I was supposed to check the ears
of photographic children to check if they had TB or not.
I was supposed to give them basic medicine. I was part of this organization;
I lived with them, I traveled with them who I 
have to speak for to raise funds for this organization.
I was part of UNICEF
and I'm a part of UNICEF to today because I am a
goodwill ambassador of UNICEF and I was
with the World Health Organization.
And when I went inside these
refugee camps, when I'm inside these communities .
when I'm placed with a  group of
people, I was living with them.
That was my life. These guys were my friends. You see, you cannot go to do these
pictures just to go there to get nice shots,
you go there because it is your life.
It's where you are. And in this moment, you are very close to everyone.
The moment is not about you taking the pictures, it's the people that are in front
of you that give you the pictures.
I was, at times, there to separate the situation.
People who ask me to photograph them, they can be found on my camera,
which was the microphone asking me to speak,
to transmit the situation for others to understand what was going on.
And you see, it's living in a part of the
planet like this with very
protective societies and it's
quite different from these people that
live in the other part of the world.
But, they aren't a big majority of the
the planet that you see. In the pictures that I
wanted to do then, that I did,
I wanted to show the other side.
This was a link between many things and that was important to know, that in this case,
you are inside the real life of it.
You were inside the real situation.
Sometimes, I went with a group of refugees working
for weeks and weeks. Working with them,
leaving the world.
It's because I had a camera in my hand
that I was taking photos with but if I
had another thing that was doing another
thing, that means that I was part of a movement.
And these pictures are a part
of movement of our history.
Many of the books that I did, for example,
"Migration," we did with a very good friend
of ours, that was a very good printer in
Switzerland. The books, at that time,
were expensive. We did this book,
published this book in the United States,
but it was Lélia that designed
the books. It was Lélia that was the real publisher
of the book. She did the book and she
got he opportunity to publish in the
United States. She got the opportunity 
publish in England,
to publish in France but the problem was that the relation of the challenge
that France became so expensive that we couldn't print any more books
in Switzerland. But the guy
who printed this book for us, such a good
friend of ours-- we couldn't endure him
to take him these negatives from his
printing house to go to print in Hong
Kong on the marketplace because he'll be
so unhappy to do this. So, we printed the
books, the book was for sale and finished, and he
never printed any more books because
except if they give back as the
negatives that in this month, we could
reprint. You have a lot of publishers that
ask for the book, but we don't have any more copies of this book. My first book that was
"Other America's,"  we printed so few books so I published with a publisher in
the United States that was called Pantheon Books. And Pantheon Books finish a long
time and no more printed books. This book exists in a collection list.
It was very funny because for this book,
we received for United States copyright
$2,500. And today, I saw one of
the books sell for $8,000
in the list of collections in one book.
That's funny when you see this thing.
The Aperture, that was the first publication
of the book that made the solution
around the world, they took out the
negatives from Switzerland did they
print a Hong Kong. The book exists here,
but other books do not and that's what it is.
Audience member: In this video?
Salgado: Video? No, no.
The first time that you do a video like
this, you use this new technology to
do this. Because before, I did
this projection but with four projectors
We had four projects running like dancing to rock and roll
[audience laughing]
to project these pictures. Now, we have video. But we don't do this
because they know what happens; we are a
very small group. It's like a
coordinated group who are involved, about 8 people that work together and I have
other works to do. I just finished "Genesis" which took me eight years to
photograph, two years to organize
before Lélia designed the books and the
shows after one and a half years. When you
put all this together, it took all of our time.
You have no more time to go to the
old work in order for that to print because we
are not a real commercial business. And these pictures,
they exist like they are here. We show them sometimes to the people that  have the book and that's it.
Moderator: Yes.
Audience member: One, you have an amazing printer in Paris. All your photographs are just wonderful.
And the other question is when you are doing
situations that seems to be
really hard, where it seems
like there's no hope,
what is the hope that is in your heart that keeps you going?
Salgado: You know, you go, you take your pictures,
you live your life and few moments you
are so proud to be part of a human piece
because things are so incredible.
When I did, for example, "Workers," you see a human
being capable to take the coal mine
from inside, hard to mine, difficult to get.
This mineral by itself means
nothing and I'd seen another mining guy
taking out  I don't know and all this came
together to become a steel plant. A flat steel plant. A boat at the
shipyard they link all this together. At the beginning, you don't understand.
You guys see that would be a
ship, the door, how that will float.
And one day, that started to get
a different shape. And when they become
real, it's a boat and you see it floating.
And it goes all over this planet,
transporting  everything that we do,
that we produce. And one day, this ship
to have no more function. It will go to
Bangladesh. They cut it and they
transform the ship and everything that
the ship transports in total in its lifespan.
Like instruments in and everything that we use.
When you are part of this, you
see we are incredible animals.
Keep the gate to transform it, to produce, to
create incredible innovations.
You are in this moment for many years. You are incredible, you are flying.
You can say that the work is hard but there is a lot of
nobility. You see a lot of injustice
inside the work.When you go to the guys
working in agriculture,
after a few pictures here, working for the
morning to the evening, producing goods
and they work as hard as anyone that
works in this town. But when it comes to selling
the products, their products have no
price on the map. The Gulf International
Market who fix the price, are not the guys
down there in Africa, Latin America.
It's the guys in Chicago, in London, in the
this trade markets, in the skyscrapers doing nothing.
In reality, they export their products at a 
a negative price because they don't
receive money to buy health, to buy
education for their kids to buy a house.
And the ones on this side, the
cumulative, become so rich, capable to do
to buy planes that cost 250 million
dollars one fighter plane with complete
equipment, going to wars, and all these things. And this is the
manner of all the planet. When you see
these things sometimes, you are not happy
to have a part of all this, of 
this system. And sometimes, you go to
stores, like I did to do "Migrations,"
that you fit in such dramatic
situations, so much accumulation of negative
aspects, so much brutality, so much
violence, that you start to die together.
Your body starts to die, you start to die.
You would lose the trust, you don't
believe anymore. But you are
part of all this. You receive the influence
of all these things you've known your whole life.
because it's life that's like this.
I work with the language that is
photography that has presented this
cross section of the society that we
live in. And you have this motivation
because you are part of this society.
I work for the information. I have my
pictures in the press and I work with
this humanitarian organization. You are part of a system.
But I'll tell you, a few months in my
life was very tough.
I remember when I was finished photographing "Genesis," what I saw
with slaves or what I saw in Rwanda was so violent, so tough that in a mountain, I started
to die. My body started to die. I want to
see a doctor, I have to use a bathroom. Stop it,
stop because you are not sick, you are dying. You've seen so many dead, so much desperation.
I was 100% sure that our species would be
finished. We are a program of this species
that have no right to live. In a few months,
you believe in another way, go in another way.
And the thing is that it is always is a big privilege to be a photographer.
It is unique that you have a 
right to see what is fabulous, what is
not fabulous. You see what is our
real society: how we behave, what
animal you are, what is incredible, what
is terrible,  we are at the same time.
This is incredible. It is. I cannot say my life was
positive, was negative of nothing. My
life was the movement of the line.
Moderator: Did those experiences urge you to do "Genesis?"
Having seen so much death to want to see so much life, or the potential for it?
Salgado: In a sense, yes, because at the moment, it was so tough that I stopped.
I stopped and we went back to Brazil where I was born, where I grew up, for this kind of paradise
when there was not more of a paradise. All was destroyed because to build to this incredible society
that we had, we destroyed our planet. We destroyed our forest. All of this region here, New York
Boston, all this was built from 
incredible forests that are no more.
The other day, I was flying now in
February from Atlanta
to LA, looking from the window of the plane.
We created an incredible desert in
this country. I was photographing for
"Genesis" in Colorado plateau and
plateau is a disaster, a destruction in
all level. And to build these,
we destroy incredibly. When we went 
back to the farm that I grew up in, that was a
kind of incredible paradise, that was
destroyed. And the farm that had
more than 50% of a rainforest,
when we got there, the farm was less than
50% of a rainforest. In 50 years, all it was was shot down. All of the region.
all things and in this moment we started
he butan of this land Lila had one idea
sets the bus and you tell me always that
to grow in a paradigm in the butter he
is the hell it said why would not hit
you too he planted the rainforest it was
here and we prepare we put few years
preparing we work in this project and we
start to replant the rain friday in seed
this rain forest grow the life back
inside us again and i had a big wish to
go to photograph in this month to
photograph the planet in another way in
include inside the question that was
important for us include all the
environment in the genesis in the end of
a kind of cross section or to have yet
christine in this planet but is to be
speaking in in 10 days about this in
that when I be coming back here to do
the next speech in FIFA of me
thank you another common technical moji
in these pictures is that the subject
matter most of the lens is clean and
crisp and high-resolution the secretary
park boys pre cloud mountain is very
grainy the resolution is degraded in the
intersects if I were standing by you as
you took your photographs the
photoreceptors in my I would give to see
those trees and mountains then
you know I will hold my life longer with
one thing a few mermaid by Kodak called
trikes use our pressroom a fast film a
film very with to photograph with
because a high high speed view and I
never work with attract was all by head
and to ensure to have a chopper picture
was nice had to photograph in a high
speed and this film allowed me to do
this but what is negative was bad in
this view that more high-speed film is
Longoria natives the few and the spirit
created a texture that is what how we
call texture in English pattern one
something that you see that is a bad
technical point when you see pictures
for example for Ansel Adams that work
with very low we speed film were big
format cameras my my negatives was 35
millimeter negatives my negatives were
big like this to have this picture in
this huge in this multi grain opens and
you have this effect of the Greg of this
is this all made with all the fields and
when you be if you come for the next
projection that will be doing the
Technic quality will be much better
because I use medium format camera
negative much bigger it will be less
gramming than this the definition is
because the lens were very good I work
always on my lifelong with like us
german lens that were very trifling in
today they are more charlie yet because
when you use the prints made in enlarger
the quality was much more poor than now
and now with the digitalization of a
negative you digitalize everything
everything that struck with char before
we had a dead center shaft in the edge a
little bit more trout that were not that
sharp because the lens they get in the
round Center perfect in the border more
or less and now we challenge these that
is quite quite a jump if I may that just
made same projection 10 years before
with this for projectors with not less
charter than a nice chanting that what
the looks as are a texture is is the
problem of the fume that's the technical
term thank you for another yes
he wants to know how many times you've
been arrested co ty now of course that
will have problem and bad that is a good
thing to work with small camera and you
see Kootra like us you put inside a
small bag and you can go you can mixed
with people you can you can no problem I
now for genesis i had an assistant
because i was walking with cameras much
more heavy i was doing a subject that
sometimes also dangerous was necessary
to happen with the client and do things
i was photographed nature in very
special condition but before work alone
and was necessary to carry all my
cameras and all my films for months and
in this case I was very mobile I cross a
lot of security with no problem at all a
few times I were arrested i get 2x push
mount of the bouncers and this kind of
thing happens few times but that's like
this no that is your life you see when
we stay long time in a protected area
like this we are afraid to go but when
you go every time that is your life now
to go and in reality is funny no take
some risk and be in the edge of the
things and and yeah this the life is
sometimes but I photograph men risky
situation but was there for a period of
time save me Falls longer as 23 months
that was just 23 months and sometimes
the guys were there for years inside the
thief
NRS but one thing I must tell to you for
me the real intelligence of our space is
the capacity of adaptation of that we
have if you go for their dangerous
situation the first moment you are
scared just after more or less and after
few days you are completely inside you
take the risk as the normal behave and I
live that this de point I i remember
that i saw in a x4 my yoga Slade once we
are in a village the service start to
fight against the the cruet freights
they will start to fight they were
living together for tens of here in a
month the split of inside the day not a
detainee because all these yoga slave
they were the same 18 in the works his
lives of this off all them but as they
were influenced by different political
parents for some of the Muslims were
part of the ottoman empire that finished
there inside the Serbs were part of the
Russian Empire that was finished inside
the formula slave he creates the word
path of the austro-hungarian imperial
that finished there inside they were
speaking the same language right in this
language in different way and in this
sense they become kind of enemies but
for many years they live together in
sign water polly was late and when they
start to explict to help fight who was
firing you with your maker in front of
your house and the things he can daniels
in a sense but the Kings was necessary
to go in school and remember were never
late when the fights was a starting the
matter was desperate because the kids
were going to his school side fight now
fight going here but the first day they
do not went second day was necessary to
go they gone guy was firing and kids
going and was terrible situation I came
to see
same village a few months later was just
normal they were firing yet it was the
same danger but the significant mine by
undergoing need of defining going to the
school and come back Oh it'll completed
that it's the same for when you are
working the first days is not easy and
have to become your way of life force
you are completed that or complete on
inside I remember once I I went to north
of Ethiopia doing a story with doctors
out the ball one hook that we publish
years Paul sale the end of a road was
published by the back lawn invest in
United States and I went there for a few
days for two weeks bits and some
frontier give ma four-wheel drive peril
and the cruiser and a went inside and
during the evening we use the world that
during the day with the guerrilla
movement I went inside then autophagy
enduring in the day to government use
the same world and one day when I was
inside the government took the road was
in pasta comma in the guise of the
guerrilla movement said them Sebastian
you will buy camera they'll take you
about 450 days and we stay with shitty
car one day we'll bring the car back I
said no way guys because the scary cost
me fifty thousand dollar that was
surprised at that at that time and i
have not that money to pay the latest on
some frontier I stay with the car and I
stay there for a while with this guys
eating nothing living which then under
the bombing of the the the Department of
a chocolate because they have a lot of
midgets they were born in all time is
the day of all these things and in the
beginning was really scared but many
things in the end was my life and tell
you the day that a walk out of that they
took the road that was supposed to come
out of dicta I I was very ashamed to
come out that become real my life or
wheatland oxidation I'll take one more
question please yes to more question you
and that's dry long another right with
it
they know first this project did you
think that I walk I walk because i was
completely he did fine with them you
cannot as i said few minutes ago both
for five years photography seven years
photography eight years photography if
you don't have a total identification
subject that you are inside must be real
your life you have a plate 142 be back
in this moment that you are inside a
story completely inside a store and we
start to have relations contact which
people link to this storm photographers
journalists institutions you are part of
institutions also a link to institutions
in this month you are part of this time
you know it as the lines of your hand no
any know where to go who contact what
the next step you can you sometimes when
you start a store like this you created
the guidelines of the store in you left
the store evaluate nur inside and we go
link to them you made a projection to do
a lot of different routes in a few years
but then of the shoots you don't do more
because the things change a new church
together you are left in a reboot now
it seems to me that it's virtually
effortless for you that when you're when
you're actually making the pictures is
it effortless for you once you get
yourself in that situation and in that
mindset is this all easy for you all the
time what is what making images just
good yeah the moment of making images
well yeah where we speak here basically
all time about the motivations about
today the reason to be there about
ideology of abilities but we must say
that I'm photog I have a huge place to
photograph I i love it to be signed at
the mountain that our behalf similar
situations different dramatic saving the
situations where D'Angela saving the
situation is very beautiful you must be
inside your language you are that
photograph you are thoughtful you want
to you you you must be getting
incredible identification with the
fingers happen you want part of the
thing and you are totally integrated to
death and in this month you have your
image and it is no this integration
that's most important many times I do
not photograph because was too hard many
times I do not photograph because I
never made world teacher it was not a
tool to give back the dig in it at the
person that was there inside and many
times was not set to where the people to
this moment you don't photograph but my
chart of the time you are there to
photograph and you
thank you very much
