WHAT'S YOUR PROCESS FOR TAK­ING A GREAT PHOTO?

Howler Magazine - - Contents -

Juan José:

“When you're more ma­ture you start to pre-vi­su­al­ize, you start to see things be­fore you are look­ing at them with your eyes. You have to do your home­work. That means know­ing a lot about the place be­fore you go, which is the best time of the year, a lot of stuff like that.

“And then you just have to be lucky be­cause na­ture plays a big part. But you have to be there, you have to go, you have to do what­ever to be in the place you want to be. … You have to love what you do….

“The cam­era is not the most im­por­tant thing, the most im­por­tant thing is the pho­tog­ra­pher. You don't have to have a great, very ex­pen­sive cam­era to take great pic­tures. What you re­ally need is to have a lot of pa­tience and be there no mat­ter what. … And you have to have the sen­si­tiv­ity, you have to have a lot of imag­i­na­tion and cre­ativ­ity to do new things.”

Ser­gio:

“In my opin­ion there's two key things. One is to know that light is ev­ery­thing. Light, light, light. That's key be­cause it de­ter­mines when you shoot some­thing. And then the other thing is to try to con­nect with the place or the pub­lic that you're shoot­ing, like from a sen­si­bil­ity point of view….

“It's im­por­tant to take a mo­ment to feel the place first, to breathe and be present for a mo­ment be­fore you start shoot­ing, be­cause that's a mo­ment where you can con­nect, and that will guide you to shoot from the right an­gles and make the right tech­ni­cal de­ci­sions to cap­ture the essence of what you're shoot­ing.

There's in­fi­nite ways of shoot­ing some­thing, so you don't want to just do it ran­domly.”

Gian­carlo:

“I would cat­e­go­rize it in two dif­fer­ent ap­proaches to the same ques­tion. One, a lot of pic­tures are planned with the per­fect mo­ment, or the mo­ment of the most po­ten­tial at a spe­cific place. And that is ex­cit­ing, to dream with that

mo­ment, sort out the lo­gis­tics, try many times and even­tu­ally be­ing at a mo­ment where it feels very spe­cial in terms of lights and what's hap­pen­ing….

“The other ap­proach takes you to the same mo­ment, but it's un­planned. And with aerial pho­tog­ra­phy it hap­pens a lot. Maybe you take 35, 45 min­utes to get to where you're go­ing, but on the way there's many things hap­pen­ing that you didn't think about. Maybe you can­cel the orig­i­nal plans with the flight be­cause you run into some­thing amaz­ing….

“I would def­i­nitely say you have to have an in­ten­tion on why you're tak­ing that pic­ture, and also on what that pic­ture is say­ing. It's not just a mo­ment, it's not just cap­tur­ing some­thing, but it's what that pic­ture can say to some­body. Dif­fer­ent peo­ple can in­ter­pret a pic­ture dif­fer­ently, but be in­ten­tional about that pic­ture.”

Top photo: The Tala­manca moun­tain range viewed from Mount Chirripó, by Juan José Pucci

Bottom photo: A leap­ing spi­der mon­key in Gua­nacaste, by Ser­gio Pucci

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