00:01Photography for me is everything. It is a possibility. It is everything you want it to be.
00:16It's a very objective that becomes a subjective feeling, but it starts from the honesty of
00:27creating a piece. You cannot add anything to it. That's what it is. It's pure honesty.
01:06This is me, Renato D'Agostin. I was born in the countryside of Venice.
01:15First step, I moved to Milan thinking that it was the Mecca for my first step of photography.
01:24And it was, in some ways, because I met some amazing people that allowed me to believe
01:31even more into photography, into my will of being a photographer.
01:37And after two years, I was determined enough and eager enough to make the bigger step,
01:45which was to go to New York, which 15 years ago, 20 years ago, whatever it was, was the only
01:53chance.
02:17All my work is about, and all my geographical location, about where I live, is about necessity.
02:23And so I moved there. I lived there for 14 years. And it was one, one of the best experiences
02:34of my life.
02:36I care about where I can accomplish my work in the best way possible.
02:42And that's me. That's the honesty of being an artist and being a photographer.
02:48You are what you do. And you do what you are. That's it.
03:11I grew up in two separate homes. And in the weekend, I was allowed to go to my, to one
03:21of my parents' place.
03:22And he had a little collection of binoculars and cameras that, as he says, cannot take a photograph.
03:37I would spend the weekend looking through those binoculars, spying into the neighbors' homes.
03:49I was seven years old.
03:52I found that to be related to my intimacy, and to the intimacy that maybe was not allowed to live
04:04in a certain way.
04:06And so I, I started looking into that, and I wanted to see other people's lives, spying, a voyeur.
04:17I understood that I was interested in photography.
04:22I needed to process certain things through imagery.
04:31I'm a very visual person, and I need constantly to decompress and decontextualize reality into an imaginary world that I
04:47built up for myself,
04:48for, as a safety net, just to, to build my own existence.
05:19Three people have been extremely important for me.
05:26One is the first person, Alberto Mbella, who lives nearby here, and that was my teacher, my first course of
05:36photography when I was 17 years old.
05:39And through him, I ended up in Milan, and I worked with a great guy, Alfredo Sabatini.
05:48He told me that when I walked into his studio in Bicocca, in Milan, he looked at my photographs, and
05:55he said one thing that I will remember forever, which is, you have the sacred flame of photography.
06:02And then, two years later, I moved to New York, and one of the first few masters that I met
06:11was the one that I wanted, who was Ralph Gibson.
06:16I emailed him, he responded one week later, saying, I'm in China, called me on Tuesday, and I did, and
06:27I ended up in his studio.
06:32I'm in China.
06:33I'm in China.
07:02Y dije a mi mismo, quiero existir aquí.
07:06Este es mi lugar.
07:07Y luego, por siete años increíbles,
07:10empecé con él.
07:12Y aprendí todo lo que podía.
07:15Así que es un gran referencia.
07:18Él era un maestro real.
07:20Él es un verdadero maestro.
07:22Si hay una cosa que me entiendo,
07:27lo importante es compartirlo y no mantenerlo para ti mismo.
07:33Si te dices una cámara y te dirás cómo grabar,
07:36te darás una fotografía increíble.
07:38Te dirás todo.
07:40Pero el espíritu es diferente.
07:43Y me enseñó el espíritu.
07:54No te interpensas.
07:55No te interpensas.
07:55Y me.
07:55Te irás fácil.
08:07No te interpensas.
08:09No te interpensas.
08:36La luz es todo.
08:40El peso de la luz es algo que empiezas a sentir cuando estás en el cuarto de la luz y
08:45te mueves tus manos, más grande y más grande, y empiezas a sentir que una fracción de un segundo no
08:56es un segundo.
08:57El cuarto de la luz y la luz, y la fotografía, no es algo sobre lo que queremos, es algo
09:06que necesitamos.
09:37Y de aquí a aquí, completamente cambia la emoción de la pintura final.
09:52¿Qué es lo que me hace para empezar?
10:43¿Qué es lo que me hace para empezar?
11:27¿Qué es lo que me hace para empezar?
11:29¿Qué es lo que me hace para empezar?
11:31¿Qué es lo que me hace para empezar?
11:40¿Qué es lo que me hace para empezar?
11:49¿Qué es lo que me hace para empezar?
11:51¿Qué es lo que me hace para empezar?
11:55¿Qué es lo que me hace para empezar a caer?
11:58the enlarger when I'm 24 hours after I caress their larger say please help me
12:06and I'm not crazy I just understand in use the right temperature on my hand to
12:14give the little 0.5 percent of light out of one hour exposure it's a it's
12:24organic I feel the respect for the materials and they feel the respect that
12:31materials have to for me it's a concept of course it's not technically like that
12:37but it's it's purity
12:59so
13:28Gracias por ver el video.
13:42Gracias por ver el video.
14:00Gracias por ver el video.
14:41Gracias por ver el video.
14:43And even when you work like me outside on the open field, you have to make sure to be in
14:51the right spot when the light hits the right subject that you don't even know that exists
14:57yet, but they will walk in eventually.
15:01So it's an organization.
15:03It's all programmed and it has to be perfect.
15:09Thank you.
15:12Thank you.
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15:45Thank you.
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15:51Thank you.
15:57Thank you.
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16:16Thank you.
16:18Thank you.
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