The story of the photographer Kazuo Okubo is hopelessly intertwined with photography, from its birth in August 1959. After marrying, the parents of Kazuo moved to Sao Paulo Bandeirante (DF). The father, a tailor, he began to learn photography and working for a lab. Shortly after, with the shift to Taguatinga (DF), set up his own business: the Cine Photo Okubo. Teen, Kazuo had not been involved with photography. Until one day a customer came into your house asking him to do some pictures. As his father was away on a fishing trip, he picked up the equipment and complied. The photos have gained the approval of the father, who took up the responsibility Kazuo, then 15, a few birthdays, weddings and funerals. In 1979, Kazuo was to Uberlandia (MG) attending Mechanical Engineering. Two years later, he returned to Brasilia, decided to study management, and had to divide his time between college and the photo shop, which passed into his hands shortly after the death of his father. Kazuo worked intensely for seven years at Cine Photo, photographing weddings on weekends. With the Collor Plan, the store went bankrupt. Kazuo attaches to this fact being immersed in the profession of photographer. After many years in the advertising market, Kazuo has turned the art market and launched in November 2009, the gallery The House Red Light , which receives from this Tuesday the exhibition The Home Show is *.

Photo: Kazuo Okubo. Exposure to House Shows

When he begins his job as advertising photographer?
I attended some lectures at a local photography, among them one of the photographer Sergio George, who worked for Honda, Antarctica, Schincariol, among other companies. I started going to his studio to watch the production of pictures and started to pay attention to what he did. When I arrived at my studio, I was experiencing. I was getting a taste for the thing and started to get tired of shooting weddings.

Photo: Thomas Farkas. Exposure to House Shows

Previously, the advertising market, the photographer who was worried about the light, with all the construction of the image, while both the post-production. Still there is this photographer?
I can not spend hours in front of the computer doing image processing. The person doing this work has a certain formation. You have to know how to draw, have a good sense of art direction, be creative, and many see the light. Currently, the advertising photographer is a pickup. Have budgets that 3D and Photoshop are more expensive than the click. Today, the photographer is the one who picks up parts. However, there are good pickups picture, others do not. For example, if the picture asks a boy on the beach, got to know the boy go, know-how, in the studio, a light like the light that would have on the beach, etc.. I think Photoshop is a great tool, but must be used with common sense. What Photoshop does is what the photographer did before. The photographer is the best liar is what you can leave the viewer confused, not knowing if the person was actually in place or not.

Photo: James Santana. Exposure to House Shows

Do you still believe in the advertising market?
Is there an advertising market and there are many people who live in this market. Here, in Brasilia, much is being made. The city is one of Brazil's main markets in a matter of advertising revenue, ahead of Rio de Janeiro, for example. As a photographer, I do not feel that is my final click. I have "partners". Formerly, when it was a chrome, we waited for the sunrise and so on. Today, someone makes a picture of the sun rising and I photograph the model in the studio at 14h.

What you have to say about the relationship between photographer / photo editor?
I know I do a click to sell an idea that the art director created, which, in turn, heard the request. I'm doing pieces, at times, but do not suffer more for it.

Photo: Olivier Boels. Exposure to House Shows

And the art market? What led up to it?
I believe in the potential of the art market. The advertising market has changed a lot of Brasilia for some years now. Since the case Valério, courts are more demanding with the agencies, the Secom (Department of Communication of the Presidency) adopted reference tables. And the photography markets swelled. My earnings began to fall and I started thinking about changes in other ways. The photographer is a copycat advertising layout. I do the photo that created the art director and client approved, using my expertise. Are you a photographer asked. And to meet the demands of others, is not to meet their own demands. I began to realize that the original work is more exciting. This began to give me more pleasure than a picture directed. I realize that the picture is directed needed in my life, is what sustains me, but there is a photograph that is more interesting to me. That's how I started researching on the art market, collecting about and talking to people like Rosely (Nakagawa).

Photo: Camillo Righini. Exposure to House Shows

Why the choice of Rosely Nakagawa for the curation of The House of the Red Light?
Because she already has much experience in the market for art photography. I went to the last deVERsidade and thought, we have to do something at this level. So, you are living in an environment of people who generate a lot of information. I have great respect for Rosely, which has been developing works out of Brazil opened and shown to work. I began visiting the many galleries in Brazil and abroad, both to learn about the business and to bring people to expose here. We are pursuing various possibilities.

Photo: Dorival Moreira. Exposure to House Shows

What you point to anyone who wishes to enter the art market?
When I'm making an authorial project, develop some doubts about what I like to shoot, the quality of my photos. Read portfolio experts can help in this quest. These people can give some tips and help us see the particularities of our work that we do not realize.

Photo: Isabella Lyrio. Exposure to House Shows

* Exposure to House Shows brings the works of 18 photographers who are part of the Gallery's permanent collection: Arthur Miller, Bob Roach, Camillo Righini, Carlos Moreira, Cristiano Mascaro, Dorival Moreira, Dudu Schnaider, Isabela Lyrio, Joao Paulo Barbosa, Jorge Diehl Kazuo Okubo, Renee Monique Olivier Boels, Patrick Grosner, Thomaz Farkas, James Santana, Walter Firmo and Zuleika de Souza. Curated by Rosely Nakagawa, the exhibition brings together works and poetic documentary, produced from the 1950s. There will be an opening for guests on Tuesday. The exhibition can be visited from Monday to Friday from 10h to 20h and on Saturdays from 10am to 18pm. The House is in the Red Light ASBAC in Brasilia (SCES 02 Joint Excerpt 31).

By Julia Salustiano