Interview With Pedro Patricio - The Magazine For Photographers.
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Can you tell us a bit about yourself?
I’m Pedro Patrício, I was born in a small town 70 km from Lisbon. Since University, I have lived in Lisbonand it’s the place I call home.
Since very young age, I’ve always been attracted to the artistic, bohemian contra-culture world of literature, cinema, painting, photography, music. Some of my references are Rimbaud, Baudelaire, William S. Burroughs, Allen Ginsberg, James Joyce, Jean-Luc Godard, François Truffaut, Andrei Tarkovsky, Orson Welles, Alfred Hitchcock, David Lynch, Terrence Malick, Cristopher Nolan, Edward Hopper, Andy Warhol…
For the most part of my life, I was a film producer, but in 2021, I became completely devoted to photography. I'm also recently divorced (a little more than one year ago) and have an 8-year-old daughter who loves photography. She often accompanies me on shoots and serves as both my companion and my muse.
How did you get into photography?
My serious pursuit of photography began during my university years. I was enrolled in Communication Sciences, a course that provided a broad overview of the arts. In my third year, I had to choose a specialization, and I chose Cinema, Video and Photography. Over the next two years, I excelled in Photography, consistently achieving the highest possible grade. My favorite photographers are William Klein, Vivian Maier, Peter Lindbergh. Nan Goldin, Bruce Davidson, Alex Webb, Todd Hido, among others.
When I was concluding my studies, my father secured me an internship in the production department of a Film Production Company specializing in TV series. Having been born outside Lisbon, my parents had made great sacrifices to finance my education and living expenses. Therefore, I could not decline this opportunity. After the internship, I naturally transitioned into a production career, which enabled me to start supporting myself financially.
For many years, I worked in advertising - a field that remains well-paid in Portugal. I held multiple roles, such as Executive Producer, Production Director, and Service Producer, at one of the top five film production companies in the country. But working as a producer, especially at a high level with lots of responsibility, isn't something that easily coexists with being a photographer. I would even get calls from clients during my holiday breaks in Asia!
I reached a point where both my mind and body needed a break from production work,
so, in 2021, I made the decision to fully embrace my passion for photography.
In April I began to shoot intensively and by October, I had left my well-paying job in pursuit of this dream. Since then, I haven't applied for any positions at other companies. I’m in what you might call a sabbatical phase - one that I've earned through hard work and dedication. As far as we know, we only live once, so I decided to pursue what brings me joy rather than live in fear.
Meanwhile, I realized the importance of formal education in refining my technical skills, so I decided to resume my studies. In July 2023, I completed the Professional Course at the Portuguese Institute of Photography (IPF) with distinction.
How do you approach storytelling through your photos?
When I decide where to shoot, I try to capture everything the location has to offer, and I do the same with people. Being empathetic helps in creating street photographs and telling compelling stories.
I am intrigued by the process of transforming the rhythm of daily life into a form of living art, just like Andy Warhol, so the themes I choose often revolve around people in public transportation - trains, metros, and ferries - capturing them in their daily routines of commuting to and from work.
I create narratives meaning through a series of images, which can convey emotions more powerfully than a single photo. So I soot in order to have enough options during editing. If I do a session of street photography lasting 2 to 3 hours, I typically take around 1000 photographs. It allows me to create more than one story in my posts.
How did you find your own photography style?
I have developed my own style through daily shooting and editing, drawing inspiration from various artists I admire across different mediums - not just photography, but also cinema, literature, painting, and music. My decisions on when and what to shoot in color versus black and white, as well as the color palettes I choose, play a significant role in this process.
My work is a mix of classic photography with abstract and experimental shots. When I go out to shoot, my eyes are open to many possibilities. I look for the perfect classic shot where everything is in its right place, but I also focus on more experimental work. This includes using reflections, playing with the camera, moving it to create distortions, and always trying to reveal more about the subject than what's immediately apparent. I often photograph people at close distances, especially when they are looking directly at me. While I take some risks, I strive to remain natural and flatter the subjects, which is evident in the final results.
Architecture also plays a crucial role in my photography. To me, street photography involves capturing both people and architecture - it’s not just about these elements, but they are certainly at its core.
What attracts you to street photography compared to other types of photography?
What draws me to street photography compared to other forms of photography is the profound sense of independence it offers. It's just you and your camera, and for me, that's truly magical. Doing editorial portraits on my own, without client input, can be great as well. Those who have worked in advertising, as I have, will fully grasp what I mean.
In advertising, there are countless layers of people who have a say in your work- especially if it's a large project. Street photography, in contrast, is refreshingly straightforward and personal. It allows for an authentic creative expression that's unfiltered by the demands and revisions of others.
How do you capture emotion in your photos?
Capturing emotion in street photography is rewarding, as it captures spontaneous, genuine human moments. Before I start shooting, I take time to observe my surroundings, focusing on people's interactions, expressions, and body language to capture real emotions rather than posed ones. I use elements like architecture, lighting, and weather to enhance the mood of my photos. I also pay attention to subtle expressions and gestures, such as smiles or contemplative looks. I experiment with different angles and perspectives to reveal various emotional depths; for instance, shooting from low angles can make subjects appear more powerful, while high angles might suggest vulnerability. Lighting plays a crucial role, with early morning or late afternoon light providing softer tones that deepen the emotional impact.
I always keep my camera ready, as emotional moments can occur unexpectedly. Briefly interacting with subjects can elicit more natural emotions. Lastly, understanding and empathizing with the cultural context enhances the authenticity of my emotional captures.
What gear do you use?
I believe equipment is secondary; what matters most is the intention and the creative process. Equipment is merely a means to an end, a tool - but in my case, I need to like the tool.
I use a Nikon Z8, a Zf, and a Leica Q3 (which is a very recent acquisition). I know I don’t need three cameras, but I'm investing in what's most important to me right now concerning work, so it can’t be a bad investment!
All my lenses are from the Nikon Z series and S line: 24-70mm f/2.8, 70-200mm f/2.8, 135mm f/1.8, 85mm f/1.8, 50mm f/1.8, and 20mm f/1.8.
I also have a Nikon F3 and a Olympus 35 SP for my 35mm film photography.
You have published a book recently, can you tell us a little about it, and what was your experience with publishing a book?
I was approached by a Portuguese publisher who really liked my work and expressed a desire to publish it. He collaborates with a talented designer and uses a high-quality printing house in Europe. He shared a book he had produced for another client with similar features, and I liked it. The timing was also right for me, so I decided to go ahead. The book can be purchased directly from me. It has been selling well. I produced 60 copies, although I do not plan to sell them all. Keeping some copies is beneficial for meetings with clients or to send to other publishers.
I have seen that you went to University to study Photography, Cinema and Video. How was that like? Can you tell us a bit about your university days?
My university days truly transformed me. I majored in Communication Sciences and Culture with a focus on the arts. After the initial two years, I chose to specialize in Cinema, Video and Photography, where I consistently earned top grades in Photography. I particularly liked the hands-on experience of using film, handling everything from shooting to developing in the darkroom - it felt magical.
In the realm of cinema and video, we formed shooting crews, developed scripts, and embraced various production roles. I frequently found myself in the role of Director of Photography, which really honed my eye for detail and composition. We learned to edit our footage using tools like Avid and Premiere. Our school had excellent equipment, which enriched our learning experience. Reflecting on it now, that period was not just educational but deeply influential in shaping my artistic sensibilities.
Do you prefer black and white photography or colour photography and why?
That's a tough question. I think I lean more towards color photography, but I truly appreciate both. On my website, you'll find a mix of color and black and white images. I invite readers to explore my website thoroughly and, after browsing, to return to the homepage and watch the slideshow run until it starts overagain.
That collection - featuring color, black and white, day and night scenes, various places, people, experimental techniques, and abstract compositions - really encapsulates who I am as a photographer. Be aware that some photographs are cropped because I mixed vertical and horizontal photographs, filling the screen. The crops allow the viewer to pay attention to other details in the photographs, which in my opinion is a plus.
What does photography mean to you?
Happiness and freedom. It's what I love to do most right now, free from any obligations. I feel like I'm exactly where I need to be, and I plan to continue pursuing photography as long as this path allows me to. I believe in going with the flow and seeing where it takes me - letting things happen naturally.
On your website I have seen that you participated in a few exhibitions. What exhibitions were they? What was your experience like? What tips would you give to someone who is looking to also show their work in an exhibition?
This year, I've had the opportunity to participate in two international group exhibitions. The first took place from late March to early April at the Street Soup Gallery in Milan, Italy. The second was in June at the Hellenic American Union in Athens, Greece, where I was part of an exhibition associated with a Moments Collective contest and received an award. I've been invited again to participate in another exhibition and contest, that will happen next December, this one focusing exclusively on monochrome photography(portrait and street photography), hosted again by The Street Soup in Milan, Italy.
You can show your work in an exhibition by direct invitation or by submitting your work to a contest and if your work are selected it will be exhibited and eventually awarded. It really depends who is organising it. In many contests your photographs submissions have fees, also if selected to exhibition could have more fees to cover the printing and frame.
Do you have a specific location or city that you think offers the best opportunities for street photography?
Yes, the most famous and iconic cities offers a lot more opportunities than the others in terms of visibility. People know them from cinema or TV Series, New York, Chicago, Los Angeles… London, Istanbul, Tokyo, Hong Kong (when in University I remember the impact of Chungking Express, a film by Wong Kar-Wai shot in Hong Kong, so modern at the time). The same with the first Blade Runner by Ridley Scott shot in Los Angeles. In Portugal, Lisbon and Oporto are good cities for street photography, but they can’t compete with New York in terms of visibility.
Do you think AI is going to replace photographers?
No, I don’t think AI is going to replace photographers. It’s a powerful tool, but it’s created by humans, so it's far from perfect. My experience using AI in tools like Lightroom Classic and Photoshop shows that while it can work perfectly and quickly at times, it can also completely fail in similar tasks on other occasions. AI is still evolving. The creative process, storytelling, and the ability to capture emotions are inherently human. AI serves as a great tool to assist in these processes, but it cannot replace the human touch that is central to photography.
Any tips for beginners just starting with photography?
Make sure you really enjoy photography and have a talent for it. Start by exploring different styles and techniques to find what truly resonates with you. If I was in that position right now I would buy a mirrorless digital camera with at least with 24mp with a 50mm or a zoom lens, they normally are sold as a pack, so choose what you think is best for you (there’s also the second hand market where you can by better equipment at a reduced price). If analogue also intrigues you, there are many second hand analogue cameras in good condition, for example, a Nikon F3 with a 50mm f/1.4 or a Canon AE-1 with a 50mm f/1.8 lens (with around 400 euros for the Nikon pack and 300 euros for the Canon pack you manage to have good equipment). In fact, in Lisbon and Oporto there are second hand shops that cover all your needs (digital and analogue).
How important is social media for you/a photographer in general?
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