Photo Deconstructivism in One Shot: Raúl Guillamón
At AGORA we are always on the look-out for promising photographers so we can share their story, their professional tips and artistry. If you enjoy the following interview you won’t want to miss our article on fine art fashion photography with Caitlin Bellah, this article on #Sound Contest winner Michael Aboya or this article on portrait photography with Luis Garvan.
In the search for inspiring photographers, we spend hours swimming and diving among names, nationalities, themes and styles, and always find interesting work. But sometimes you stumble on a treasure chest when you’re not even looking for it. And this is discovery of photo deconstructivism was what led to this interview. A friend invited us to a fellow photographer’s shooting, and lady luck wanted it to be someone we were already following on Instagram, because his work seemed very special and different from the trends. We was surprised to know that his technique was made IN JUST ONE SHOT…
When and how did you become interested in photography?
Since I was a child I have always had concerns about art. My parents signed me up at the Fine Arts school when I was 6 years old, there I felt at home. With eight years they gave me a transparent analog camera, with all the machinery visible. It was another toy, but when I really discovered photography it was during the artistic baccalaureate. I was fascinated to be able to take a picture simply with a shoe box. From that moment, photography has accompanied me intensely.
Do you share other skills or passion for other arts or creative activities? (Painting / Music / Design / Cooking …)
Apart from being a photographer, I’m a graphic designer, everything visual interests me, especially film and visual poetry. I’m fond of the short story. As a training I wrote a book of stories “The tiny world”.
Over time you learn that it is not necessary to go too far to find the topic that motivates you. Just look at yourself. This usually carries surprises.
Your first professional influences? The current ones?
When I studied photography I spent hours in the IEFC library. (Institute of Photographic Studies of Catalonia), where I read hundreds of books going over and over again. So create a good visual archive in my mind.
Some of the most influential for me: Edward Weston, Paul Strand, Cindy Sherman, Karl Blossfeldt, Imogen Cunningham, Brassaï, André Kertész, Bill Brandt, Man Ray …
Currently I’m not looking for specific influences, but I am open to know and learn from each exhibition, person and professional that I know.
Where do you find your source of inspiration?
Everything around me can become inspiring. Over time you learn that it is not necessary to go too far to find the topic that motivates you. Just look at yourself. This usually carries surprises.
How would you define the type of photography you do?
If I had to define it technically, it would be “Photo-Deconstruction in one shot”. And if I can extend a little more I would say that I work with objects, light and time and translate it into images.
Technique has also obsessed me for a long time, that’s why I started to investigate what light can be able to show or hide in order to help us change reality.
What has been your technical, thematic or style evolution?
I have gone through several phases. The first discovering photography and especially the work of others, then I began to copy them to try and fight with technique, making mistakes over and over again. When I review my first projects and the most current ones, I see that I have always been interested in the same thing. The human being and his relationship with the environment and nature. Technique has also obsessed me for a long time, that’s why I started to investigate what light can be able to show or hide in order to help us change reality.
After several years improving the Photo-Deconstructivist technique, now I want to apply it to several commercial disciplines, fashion, portrait, advertising, social reporting. Also to quite different personal projects.
Which subjects do you enjoy the most?
Currently I feel very comfortable with portraiture. I like to interact with the people I’m portraying, to know them and co-create their own portrait together. For me, every photo is not a portrait, but an experience.
What kind of resources do you use to promote your work?
I am interested in direct contact with people, that is why I participate in events, fairs, markets and galleries’ exhibitions. Also through social networks, mainly on Instagram:
As a photographer, which is your relationship with light?
I consider myself an artisan of light, and more specifically a painter who works with light as if it were a pigment. I am an artisan, but an apprentice. Light is so coarse, so complex, so unpredictable that it surely requires a lifetime to begin to understand it.
What kind of lighting do you prefer, natural or artificial?
To achieve photo development, the main light has to be artificial. For many years it has been my main light. Now once I begin to master it, I incorporate the artificial lights of the locations where I work and blend them with natural light.
Would you share some tips with the community of photographers of AGORA images?
It is quite difficult to advice such a broad and diverse community. But I think the most important thing is to find your own identity and style as a photographer. It is preferable to like 1 of 10 and be authentic to like everyone and be one more.
What kind of equipment do you use for your work in photo deconstructivism?
I’m working with digital equipment for commercial work, Also for more personal work I incorporate the Hasselblad analogue medium format equipment and with Polaroid. I take care of my equipment but I do not consider it the most important thing to get the best results, with a simple material you could get outstanding images.
What do you think about photography regarding format (Printed and Digital)?
I understand the two formats as something ephemeral. For me a digital file is also a physical file, it occupies space and its final physical target is the screen. The same happens with the printed format, it simply changes the final support that is usually paper.
What about the equipment, which is your favorite (Analog, Digital, Mobile)?
Photography is one of the Arts that most affects technology. That’s why I think we have to benefit from what each format gives us. Currently mobiles are revolutionizing photography, we are all potentially photographers because we have a camera in our pocket, even gallerists because we can publish it in a matter of seconds.
On the other hand the analog format allows you another rhythm, reflection during the creative process. It is perfect for personal projects.
What kind of elements in an image allow you to identify it as a GOOD PHOTO?
I could divide it into two, one objective and one subjective:
Technique: A good composition, exposure, etc.
Emotion: An image is good or not if it manages to transmit something beyond the aesthetic. If you can evoke. Consensuses can be reached with certain images but it is a totally subjective terrain based on personal experience.
ABOUT RAÚL GUILLAMÓN
Raúl Guillamón García * (Terrassa 1985) after studying graphic design, he studied at the Institute of Photographic Studies of Catalonia (IEFC) specializing in human figure and nude. Since 2004, he has begun to experiment with photographic techniques in depth. He develops the Deconstructivist technique in one shot, a method he uses as an artistic and personal path.
His work is inspired by the artistic vanguards. Experiment with the observation of the object, the point of view, the subjectivity of reality and time.
Currently he combines his work as a designer and photographer with artistic creation, participating in different projects and exhibitions. He focuses his work on the photographic experience, performing commissions and portraits using the deconstructivist technique.
QUESTIONS FOR THE AGORA COMMUNITY:
Photography is at this moment the most universal of all the languages we have. What do you want to say to the world through your photos?