It's time to see some of my pictures!!!

So far I've created three galleries for you to see my images at Photoshelter.com.

I took some days off.

Why am I writing again? Well, I guess it's because I feel the need to express myself again in written form.

First of all, I'm just back from the inauguration party of my second show ever at the Chrystie Street Gallery. Honestly, I've felt honored that two of my pictures are displayed. If you were there and you are reading this because of that, I'd like to share with you the history behind one of the pictures.

I was in Central Park wandering around in a hot and sunny day. But as always, the unexpected happened and a summer storm started to hit us really hard. I was walking along another photographer that decided it was too risky to keep his camera out in the rain. At that time, I was thinking of another friend that always complains about the weather whenever she takes pictures. Why do you carry a camera if your're not going to have it on your shoulder at all times? So I kept taking pictures here and then. When I saw the bandshell, it struck me the contrast between the harshness of the outside and the hospitality among strange people. Suddenly, this guy appeared in front of me ruining my picture. What a misjudgment!!!

Hiroshi Sugimoto

Hiroshi Sugimoto gave the Walter Annenberg Annual Lecture at the Whitney Museum of American Art last May 18th.

He is an artist who uses photography to portrait the notion of time. From sea landscape, architecture and wax figures, time is always the key element.

In his out of focus images of buildings what you see is a timeless interpretation that anyone can relate to. Showing them in sharp focus would take away the characteristics that make them unique. For example, the Guggenheim Museum in New York needs to be repainted, but those are irrelevant details that do not add up to what makes it a landmark.

His latest work is no longer photography, but architecture. He designed a Go’o shrine in Naoshima Island in Japan. The same region where the Japanese-American sculptor Isamu Noguchi used to work. In addition, his own studio in Tokyo was built to explore the concept of form and light.

There is no a single person in his images, emphasizing the impression that his work is ageless.

My first gallery show

If you are wondering where are my pictures, you will have a chance to see one at my first group exhibition "Random Slices" at the Chrystie Street Gallery. It was a combine effort by the gallery and The New York City Photography Meetup Group. The opening reception will be this Saturday, June 4th from 3 pm to 7 pm. It is located at 167 Chrystie St., 2nd flr, New York, NY 10002 (between Delancey & Rivington St.). From this thrilling experience I can say only one thing: calibrate your monitor and get the right profile for your printer/paper combination. There is no other way to get a satisfactory print.

Loretta Lux and Rob Goldman

I saw the work from Loretta Lux at the Yossi Milo Gallery yesterday. She was there signing her first monograph published by Aperture. Her pictures are weird, surreal, but what next? How do you grow as an artist if you keep doing the same thing? After a while it looks repetitive to me.

Once again I had another talk by Rob Goldman. A more spiritual kind of approach to photography. We even read poetry. I could not believe that I was there. I thought that I was losing my time. However, it allowed me to realize one important thing:photography gave me the pleasure to take pictures without a camera. I do not always carry it with me, but images are out there to be discovered. So instead of feeling frustrated, I just enjoy the moment.

Jay Maisel, Eleanor Antin, Susan Meiselas and Duane Michals

Jay Maisel, the only way to describe his photographs is by means of his own words: perception, color, light and gesture. He was the recipient of the 2005 "Grand Masters Award" given by the Department of Advertising Design & Graphic Arts (ADGA) at New York City College of Technology (City Tech). He showed that the only way to take pictures is having the camera with you at all times. It seems obvious, but I do not think it is. Many photographers want to travel to exotic locales to obtain their once in a lifetime image. That only leads you to frustation. Pictures are everywhere, you just need to be open minded to be able to see them. Pictures from assigments are full of all the characteristics he tries to teach you. But I think is his more personal work when you see all those plus his own emotions. Those were the strongest to me, specially a 12-year photographic diary of his daughter.

Then I rushed to PHOTOGRAPHY AFTER FILM: THE SHOCK OF THE NEW TECHNOLOGY, a panel discussion with Susan Meiselas (documentary photographer, essayist, film maker), Eleanor Antin (performer, photographer, film maker) and Duane Michals (poet, philosopher, photographer) moderated by Amei Wallach (art critic, commentator). I missed Susan and most of Eleanor's talk, but I've been very fortunately to listen to Duane's ideas. He is such an amazing character. It doesn't matter what kind of technological gadget you use, but how you use it to convey your message. He finished with his most emotive work, pictures from his book "House I Once Called Home". I have no doubt that you would me touch.

They also addressed the question of archivability in the digital era. Eleanor and Duane simply do not mind. Nothing lasts forever.

My first everything

A way to get in touch with people passionate about pictures and communication. Not just photography but pictography. My goal is to communicate, to cause a reaction...

I started photography two years ago before my first trip to Europe. Why? I am not completely sure, but I had to do it. It was not completely out of the blue, my brother Javier used to be a social photographer and my father also have a camera. So I read and read websites to be a little bit more prepared, but as it happened to many people before, my pictures were empty.

At the beginning I was captivated with nature photography, not only because I was too afraid to approach people but also because I am a biologist. It allowed me to get out of the bench and sensed the world. I needed it. I didn't know any photoghapher's name at that time, but Ansel Adams. Then, Art Wolfe, Galen Rowell (a shock when I realized he had passed away a few months before), John Shaw (his books were fundamental in my understanding of photography), Jim Branderburg (teaching me that is not the amount of pictures taken but the inner vision that matters) and others started to be more familiar.

It took me a while to realize that New York is a center where photographers have to be. So to continue my learning I went and I keep going to any lecture, conference, talk, exhibition, you name it. Once again, certain names were mentioned everywhere: Henry Cartier Bresson, Robert Frank, Lee Friedlander, Richard Avedon... I also watched War Photographer just because photography was part of the title. It made me reevaluate my idea about photography. At the same time I went to one of my first book signings, Magnum Stories. From nowhere, Magnum agency was part of my vocabulary. Back then I realized that names like Steve McCurry, Martin Parr, Eugene Richards, Susan Meiselas, Bruce Davidson, Alex Webb, James Nachtwey, Sebastião Salgado were or are still part of something bigger.

In every talk I find new ways of seeing the world. It's incredible that in such a short amount of time I 've met travel (Bob Krist, Jim Richardson, Michael Meldford, Eric Meola), Magnum (Steve McCurry, Bruce Davidson, Paul Fusco, Thomas Hoepker, Susan Meiselas, Eli Reed, Maya Goded), VII Photo (Lauren Greenfield, Alexandra Boulat, Joachim Ladefoged, James Nachtwey, Christopher Morris, Antonin Kratochvil, Ron Haviv, Gary Knight, John Stanmeyer), portraits/commercial (Jack Reznicki, Craig Orsini, F. Scott Schafer, Matthew Jordan Smith, Joyce Tenneson, Greg Gorman, Vincent Versace), fine art/conceptual (Sally Mann, Mary Ellen Mark, Stephen Shore, Thomas Demand, John Paul Caponigro) and nature photographers (James Balog).

Nature photography is no longer my main interest. Right now, I am not completely satisfied with just a nice picture. I'd like to say something as well, to make a commitment. I am not sure what is going to be my next step. I am still thinking about it. I'll continue going out looking for fresh ideas.