Category: Sense categoria

One of my recent photographs has been selected by Progressive Street as photo of the week.

And yes, I am very happy about it. Happier than is probably dignified to admit in public.

It is the image of the boy running with a toy gun in his hand. A quick scene, almost caught out of the corner of the eye: the body in motion, the arm lowered, the direct look into the camera. I did not have much time to think. Better that way, probably. Had I thought too much, I would have missed it.

What I especially liked is the text that accompanies the selection. It does not settle for the easy reading. It talks about play, childhood aggression, and the difference between a toy gun and real violence. But it also lets in that unavoidable unease: in some places, children do not play at war. They are dragged into it.

That ambiguity is, for me, what holds the photograph together. I do not know whether it is innocent, unsettling, or simply something that happened in front of me for half a second. Maybe all of it at once. The street does not ask permission to be contradictory.

Seeing it published by Progressive Street already made my day. Seeing it placed, even loosely, in conversation with photographs by William Klein and Diane Arbus is slightly dizzying. I am not going to pretend I belong at that height, because I still have a little shame left. But having one of my photographs read in that visual territory is a gift. A big one.

Thank you to Progressive Street and Batseba Hardy for looking at this image with such care.

Now I will pretend I have not refreshed the page too many times.

Leica M10 Monochrom · Lomography Atoll Ultra-Wide 17mm f/2.8

More Small Dramas here.

Barcelona is all small exchanges here: lottery windows, shopfront glass, numbers, hands, waiting.

The street is not open space. It has rules.
A counter decides where the body stops.
Glass keeps the gesture visible but out of reach.

A hand comes forward.
A number sits behind the window.
Someone waits outside and still has to play along.

This is not the postcard version of the city.
It is the city as a set of limits: pay here, wait there, come closer, not that close.

This week began with faces, bodies and doorways. Not portraits in the polite sense. Nobody was arranged, softened, rescued or turned into a small monument of dignity for the comfort of the viewer. The camera stayed close to the edge of the street: entrances, shopfronts, walls, bad light, tired hands, cigarettes, walkers, plastic stools, small signs, objects waiting longer than people.

The fifth portrait sits at the end of that line.

An older man rests outside a small shop. A walker stands in front of him, almost more frontal than the body itself. Behind him, the window is full of clocks and small objects, the kind of things that belong to shops where time seems to have stopped out of habit, not nostalgia. A handwritten sign announces watches on sale.

Time is cheap in the window. Waiting is not.

That small joke is what keeps the photograph from becoming too solemn. The frame has enough weight already: the seated body, the walker, the shop entrance, the crowded glass, the stool, the cup, the little domestic debris of the pavement. Everything is slightly too much, and that is why it works. The city does not give the man a clean background. It gives him inventory.

The five portraits from this week have been circling the same problem: how a body occupies a narrow piece of public space when there is no proper place to be. A doorway becomes a chair. A wall becomes support. A shopfront becomes weather. The street does not stage these things. It just leaves them there, badly lit and perfectly clear.

Next week, the frame opens wider.

The portraits will give way to a Barcelona street series: less face, more city; less individual tension, more pavement, shutters, glass, crossings, corners and people reduced to the size the city allows them. Not Barcelona as postcard. Not Barcelona as Mediterranean mood with clean typography and rental prices from another moral universe.

Barcelona as pressure.

This photograph stays between both weeks. It belongs to the portraits, but it already points beyond them. The man is there, unmistakably, but the shop window is also there, doing its quiet damage. The clocks, the walker, the sign, the pavement. A whole city compressed into a bad little arrangement nobody designed and nobody will fix.

The street keeps excellent records.
It just refuses to file them properly.

Fotografías de guerra (1974-1985) arrives with dust, iron, and a white light that hurts the eyes. The book demands a steady stomach, a still gaze, and very little faith in grand words.

On the cover, an armed man aims at an empty horizon. His body carries the tension: the bent back, the long rifle, the pale clothes, the desert ahead. War is reduced to a posture. A way of crouching. A way of waiting for something worse to happen.

The selected photographs have a dryness that works in their favour. There is grain, dust, walls scorched by the sun, sweaty clothes, weapons that weigh too much, and bodies settled into an almost physical discomfort. War, seen like this, sheds rhetoric and gathers dirt. It also gathers weight. The exact weight of a weapon, of a pocked wall, of a man crouched for too long under a light that flattens everything.

One of the hardest images is that of the fighter running with the rifle across his back. The body is caught mid-thrust, low, almost animal. The violence comes from the movement, from the dust, from that slightly ridiculous urgency of running with death slung over your back. War puts men into absurd postures and then asks them to call it heroism. Humanity, once organised, produces admirable documents and massacres with logistics.

In another scene, three figures occupy a terrace or a half-ruined space. On the left, a man aims. In the centre, another throws something against a white wall covered in marks. On the right, a young woman waits with her rifle horizontal, crouched, too still for what is happening around her. The floor is filthy: rubble, puddles, scattered fragments. The wall ends up ruling the image. White, dry, punctured. A punished surface that seems more alive than the people hiding beside it.

The photograph of the silhouette inside the dark opening holds in another way. The face is eaten by shadow. Only the outline of the hair, the rifle, and the city in the background remain visible. It is a quiet, persistent image. War appears there as a way of inhabiting the edge: looking from a hole, waiting from a dirty place, turning a window into a trench. Outside there are still buildings. Perhaps ordinary windows. Perhaps someone boiling coffee. History has always had this lack of manners: some shoot while others try to get on with the day.

There are also portraits in which the fighter seems dressed up as himself. A man with a turban and large goggles sits in a vehicle, with a weapon beside him and the desert behind. The goggles cover his eyes and turn him into a strange, almost unreal figure. Everything around him weighs too much: the light, the vehicle, the weapon, the empty horizon. The desert leaves things with no excuse.

In another photograph, a man fires a machine gun from a rooftop. The belt of bullets falls like a metallic tail. Arm, jaw, torso: everything is tense. It is a physical image, almost muscular. War remains in the imagined noise, in the recoil, in the clenched teeth. Black and white works effectively here because it removes distractions. The gesture remains. The weight remains. That poor, endlessly repeated human fantasy remains: controlling the world by pulling a trigger.

The book is at its best when it lets us forget the author’s name for a while. Pérez-Reverte carries a heavy public persona: the writer, the reporter, the academician, the professional polemicist, all that machinery trailing behind him. The photographs breathe better when they return to the place they came from: the ground, the short distance, the unstable moment, the eye that looks because it is still there.

These images bear witness. And witness, when it is good, offers little comfort. The disaster stays visible with an almost administrative dryness: wall, body, weapon, shadow, dust. All very simple. All dirty enough. The camera places a concrete proof there, so war loses the air of a grand word and returns to its real place: crouched bodies, marked walls, weapons taking up too much space, light falling without pity.

The reader is left before images that dirty the fingers. Someone was there. He looked. He fired the camera. And he came back with the kind of material that time can store, however cowardly an archivist time may be.

You can buy this book here with a 5% discount and free shipping.

A few portraits from Barcelona, taken over the weekend.

Close faces. Shopfronts. Glass. Traffic. Tired walls. People holding their place while the city keeps pushing behind them.

These are not quiet portraits, even when nothing dramatic is happening. That is partly why I like them. Nobody is performing much, but the frame still feels crowded: hands, eyes, cheap objects, passing bodies, the small pressure of the street.

I am not looking for grand character studies here. No heroic street mythology. Just people seen at close range, with very little room to become elegant.

Some look straight back. Some seem half elsewhere. The city does not soften around them. It stays there: dirty, busy, indifferent, useful.

This small weekend series sits inside Portraits, close to the rougher edge of StreetSoul. More this weekend.

Technical note: Ricoh GR IV Monochrome.