The presence of photographers from all corners of the country is one of the things that makes it so interesting Paraty in focus. Various views of so many different cultures, and at the same time as Brazil.

During the meeting Vento Sul, two gauchos and Curitiba represented the South. Osvaldo Santos Lima, mediator of the table, began his speech by classifying the photographers as Hurricane Trio, recognized the talent, experience and the importance of his works.

Luiz Carlos Felizardo, Leopoldo Plentz Urban and John presented some of his work, gathered in potfolios Fine Art produced by Omicron and were launched here in Paraty, last night. Osvaldo Santos Lima, expert in the study of documentary photography and its identity and creator of Omicron Center for Photography, and Rubens Fernandes Junior, journalist, critic, curator and researcher, completed the training table.

One of the features that unites the three speakers is the ability to use the available light. The preference for large formats and recent experiences with digital photography also permeates his work.

With your photos in large format, soft light, and stunning tonal quality, Luiz Carlos Felizardo presented landscapes like canyons in the United States, and waterfalls in Skinned Hill. "I always tried to work with a soft light, because it is richer. Allows me to have light shades of gray, "he said. On its interpretation of light, pointed out the need to use the photometer to understand the ambient light and said, "expose for the shadows and reveal to the other lights. It is a very classic negative ".

John Urban, of Polish descent, has always had an involvement with the field workers. His work on the buoys cold was built for 16 years. With preference for documentary photography, assumes that advertising is their major sponsor. One of his most famous pictures, made in Umuarana in 1978, is part of this series. His work on the religiosity of Polish immigrants living in the south was another highlight in the presentation. Interestingly, when presented in Poland, these photos caused estrangement. The immigrant people registered just preserved much Polish culture than their countrymen.

Erika Garrido ©

Leopoldo Plentz stressed the common practice of the three shooting with window light. "It is important to know that there see the light and take advantage of that," he said. His work, always in PB, was developed primarily in large format. From 2001 started to use a digital camera. In this regard, he stressed that in the digital age, anyone can impose their will on picture.

Ending the conversation, Osvaldo said of the portfolios and the search for the role as support at the moment where the virtual is so present. "The portfolios are, in a way, a longing. We ended up returning to the role because the pixel, only not enough as the support structure for the image. "