Keko Ponte

Street and Fine Art Photography
© Keko Ponte. All images are property of the author and protected by copyright law.

About A6

I'm thinking about a new photo project framed in different service areas from the highway that connects my hometown in Galicia with Madrid. Something related to its future uselessness and its role in the landscape.

About AZCA VI

I've been working with objects and small spaces around the "framed nature" concept, trying to find images that inspire certain questions when they separate its (frequently unnoticed) subjects from their context.

This tree. Who decided to place it in this particular spot? Did he thought about the way its branches will fall over the banister? Who is responsible for its care? Why he keeps it this way? Do people look at its forms when they pass by? Do this forms inspire laughter? Sadness?

About AZCA V

I've been shooting in AZCA for five months now. The rehabilitation of Plaza Pablo Ruiz Picasso has started and a more big reshuffle is a strong possibility in the upcoming months.

I'm happy with the result so far. The initial landscapes have disappeared and the smallest details have emerged as the strongest visual representation of AZCA.

The project itself has a new meaning, and its goal is to document the city as an instrument to frame the nature in particular spaces, and our relationship with those spaces.

About AZCA IV

After a couple of visits and lots of photographs, the project seems to be founded more in the details and objets as the representation of the atmosphere of the complex, rather than its landscapes.

On the other hand, some of the more distinctive elements in AZCA are also kind of difficult to photograph due to the orography of the area. For example: I've been trying to frame the pyramid in Plaza Pablo Ruiz Picasso detached from its context with terrible results.

About AZCA III

I'm working on different approaches to photograph AZCA. I've been shooting mainly landscape photography to map the whole area and to identify the different paths and its possibilities. One of the first challenges will be finding moments to photograph the area with no people in it as I hope to show some level of desolation.

The possibilities seem huge in the first visits. One of the themes that I hope to explore is the total absence of color in the architecture versus the disregarded nature.

Paul Strand's Letter

“We are all students, some are for longer than more experienced ones. When you leave to be students, you may tire of being alive with respect to the direction of your work. Therefore I speak from student to student. I mean, so before you spend time on the photography (on the other hand will take much) to think that point is important for each one of you. If you really persecute is to paint or something else, then do not photograph, except in the case of pure fun. Photography is not a shortcut to painting, to become an artist or anything else. On the other hand if the camera and materials fascinates you and motivates your energy and your respect, learn to shoot.

Discover first what this camera can do and these materials without any interference, only with your own vision. Photograph a tree, a machine, a table, any old thing, do it again and again by changing the light. Look what records your movie, you will discover the results obtained with different paper types and gradations. Color differences can be obtained using one or another developer and how these differences change the expressiveness of the image. 

The field is unlimited, endless, without leaving the natural boundaries of the medium. In short work, experience and forget the Art of pictorialism and other words in more or less meaningless. See author’s books, exhibitions, at least know what they have done the photographers. And see also critically what is this doing in general and what each one of you at now. Some have said that Stieglitz had force because he hypnotized his models. Go and see what he has done with his clouds, to discover if his hypnotic powers also extended over the elements. Look all these things. See what they mean to you, what you can assimilate and forget the rest. Above all things look around you, your immediate world. If you are alive means something to you, and if you show interest enough for photography and know how to use it, you’ll want to photograph that meaning. 

 If you allow the vision of other people come between the world and your own vision you will get something ordinary and meaningless: pictorial photography. But if you hold this clear vision, you will get something at least be a picture with life itself, like a tree or a box of matches, if you believe that these things have a life. To achieve this there are no shortcuts, no formulas, no rules, only in any case, that govern the life of each. However, it is needed most rigorous self-criticism and constant work. But first learn to shoot. To me this is already a problem without end."