Photography is the art of representing reality in pictures and many believe that it is only to reproduce. Before the existence of photography, painting fulfilled that function: to represent reality, not just copy it. The creativity of painters, even those who were realistic painting, allowing capture different views on these topics: landscape, still life, portrait. Not in vain every realist painter had his trademark, is not the same Manet to Degas, Courbet that Corot.
Technology has advanced so far and so fast in recent decades, and its accessibility has expanded so much that now anyone who has a sophisticated camera, it is considered a photographer. And yet, among the millions of snapshots that are triggered each time in the world, are still very few, a very small percentage, those designed to transcend artistic expression.
is a truism Quevedo would say were he alive today, the camera does the photographer. The photograph is a work of light and composition, and technology alone can not do anything if not for the photographer's eye. And by "eye" of course understand what is behind the experience, sensitivity and artistic creativity and the ability to see reality as something that has many dimensions and depth to the naked eye can not see.
foregoing is to speak of Christopher Corral, "Freckles" Ecuadorian photographer who met again after several decades. We met in Ecuador in 1975 while shooting the film "Out of Here" by Jorge Sanjines, where I worked as assistant director, and we met again 35 years later through our mutual friend and filmmaker Alejandro Adoum Pocho Alvarez. With these three, united by an all-weather friendship, I was again in Quito in late February.
The Freckles gave me his book "Ecuador, the sun's path," a beautiful book with texts by Pocho Alvarez, through whose pages both make a tour of the country that both want and know. Pocho texts not only provide information about each photograph, but also show a huge knowledge of and respect for the cultures and traditions, the nature and threats posed to her by men and women, always named and identified, making what is now Ecuador.
Cristobal Corral fed photography since childhood and still remembers the laboratory magic of his father settled in the house and visits to the doctor's Central Pharmacy Sojos in Cuenca, where he acquired the chemicals and reagents for developing and fixing the negatives in black and white. Freckles Since then lived with photography and film, and his career went into documentary photography, which is more closely linked to memory and reality.
The Corral Christopher aesthetic look is complemented by the ethical view of the photographer, because photography is not simply push a button but committed with impunity with reality. photographer discovers not only diversity but assumes a role as intermediary between people, from the reality of each person.
Esteban Michelena Well said in the foreword of the book, when he says that the photos while Corral cause feelings of "joy and overflowing joy at seeing the tenderness, vitality, innocence, tenacity and other worthy materials with which, day by day, the country of our people will be doing, weaves, inventing and building "but also the sadness of uncertainty, because" there's certainly going to survive until that country's lively, full of life, bathed in light colors and blessed. "
The 115 photographs in the book are the synthesis of a long journey of Christopher Corral, whose versatility allows you to shoot equally landscapes, nature, people, festivals, crafts and indigenous populations.
Hence the importance of the photographer's eye, the eye is the window of sensitivity, culture, memory.
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