Interview with João Coelho
BIFA 2024 Discovery of the Year, 1st Place, Non-Professional Editorial, “Taming Giants”
Q: Can you tell us a bit about your background and what inspired you to embark on a career in photography? Was there a specific moment when you realized this was your calling?
As long as I can remember, I’ve always been drawn to various forms of art, so my passion for photography came naturally when I was a teenager. There was no internet back then, and I remember spending hours in bookstores eagerly devouring photography books and magazines. When I finally managed to buy my first camera in the 1990s, it was like a whole new world opened up to me. Unfortunately, photography was absent from my life for professional reasons until about five years ago. Living in Angola, I meet people every day who work in very precarious conditions and live on the edge of survival, and this awakened in me an enormous desire to get to know them better and tell their stories. Documentary photography was the ideal way to do this, combining my passion for photography with what I consider to be a kind of mission that runs through all my work: to provoke emotions, feelings, and above all, to raise awareness of the need to change the world for the better, to make it a more equal and just place for everyone.
Q: What was the inspiration behind your winning project? How did the idea come to you, and what message were you aiming to convey through your work?
In fact, this project is still ongoing and has a very important meaning for me, both as a photographer and as a person. I discovered by chance this group of young people working in a ship graveyard, and from the beginning I felt the importance of documenting the scenes of enormous drama that I witness every time I visit this beach. But as I got to know the Titanic Gang, as they call themselves, I was struck by other dimensions of their story that I consider to be of enormous documentary value, and which I intend to highlight in my project as well. In addition to the enormous courage, determination and audacity required to pull hundreds of pounds of iron out of the sea with the strength of their arms alone, there is such a strong bond between them that it seems like a real relationship between brothers. This is evident not only in the way they help each other at work, but also when they return to the village where they live. But more than the apparent spectacularity of the scenes I present, the main message I want to convey with this project is actually a cry of revolt! Revolt at seeing how these young people face enormous risks and have to risk their lives to earn a measly $10 a day, which is barely enough to feed their families.
Q: Every great story comes with its challenges. What were some of the hurdles you faced while capturing your award-winning project, and how did you overcome them?
I have to say that this project was extremely demanding and difficult to carry out because I literally had to get in the water and swim to the places where these young people were working. It’s a bay with strong currents and several times I cut myself on the sharp edges that you can’t see because the water is very murky due to the sediments and oils released from the wrecks. Twice my main lens had to be repaired because it got wet, forcing me to suspend the project for a few months. But one of the biggest helpers I’ve had in overcoming obstacles and getting my project off the ground has been the gang themselves. Even though they have to fight the currents and waves while they work, they always help me swim out to the wreck or back to the beach on the fragile rafts they use to carry the smaller pieces of iron.
Q: What motivated you to enter the Budapest International Foto Awards? What does winning 1st place in your category mean to you personally and professionally?
The Budapest International Foto Awards is undoubtedly one of the most prestigious international photography competitions, not only because of the quality of the work submitted, but also because of the influential names in the industry who are part of the jury. I first became interested in entering international competitions about two years ago, and after a thorough evaluation, BIFA was naturally one of the obvious choices to enter. Achieving the unique feat of winning a competition of this magnitude is one of the most important milestones in my career as a photographer. In addition to the great honor and credibility this award brings to my work, it is a huge incentive for me, forcing me to be more demanding in terms of my future goals and the way I evaluate my work.
Q: Could you share some insights into the equipment and techniques you used to create your winning images? Is there a particular tool or method you always rely on?
My documentary photography is characterized by being very close to the subjects I photograph, which is why I use a wide angle lens in most situations, in this case a 14-35 mm f/4. In the specific case of this project, I wanted to use this technique to place the viewer inside the scenes as if they were part of them, emphasizing the almost superhuman effort of these young people in and out of the water. In addition to being able to more faithfully convey the drama and emotion of these scenes at such close range, the wide angle also allows me to bring some context into the frame, which adds a lot to the story. On the other hand, because these are action-packed scenes that require me to be fast and move around a lot, whether I’m in or out of the water, I have to select the camera settings beforehand because I don’t have the opportunity to change them while I’m shooting. That’s why I have to assess the light conditions and what I want to do before I go into the water, and I always work with aperture priority.
Q: Looking back on your journey, what has been the highlight of your career so far? How does this award compare to other milestones you’ve achieved?
Although I have won several international competitions in the last two years, I believe that the highlights of my career are when I manage, in some way, to provoke initiatives or gestures that improve the lives of the people I photograph. More than receiving awards, what I want to do with my photography is to try to change the world for the better, even if it is just a drop of water in an ocean. So when I receive donations to help people who are living on the edge of survival, or who are risking their lives every day like the young people in this project, it is extremely rewarding for me and I feel fulfilled as a photographer and as a person. As a world-renowned competition, BIFA is certainly a milestone in my career that will go a long way in getting my message out to a wider audience.
Q: What advice would you offer to emerging photographers hoping to make their mark in the industry? Are there any lessons you’ve learned that you wish you’d known earlier?
First of all, shoot, shoot and shoot, but learn from what you’ve shot! The advent of digital has brought automation and economy to the way we photograph, in other words, it has created a certain ease. People don’t need to know anything about photography to take pictures, and they can take thousands of pictures and it doesn’t affect their pocketbook, it just fills up their memory cards. But anyone who wants to progress in photography needs to learn photography, if only through a process of trial and error. Resist the Auto button and choose Av and Tv, and eventually explore the fully manual mode.
Second, once you have mastered the basic principles of photography and have come to see the camera as an extension of your body, you will be able to develop your own style, explore new subjects, add successive layers of creativity, or simply be daring in your approach to subjects. Ultimately, this is what can make a body of work emerge and stand out.
Third, don’t put too much emphasis on equipment. You don’t need equipment that costs thousands of dollars to take good pictures. Many great photographers use only a cell phone, while others use hand-held analog cameras to create iconic images. To quote Ansel Adams, “The only and most important element of a camera is the foot behind it.
Finally, a word of advice for anyone doing street or documentary photography. Don’t be afraid to approach the people you want to photograph and even ask them questions and talk to them, as long as it doesn’t turn into posed or staged photography. Getting to know people’s stories often enriches not only the photography, but also the way we see the world and ourselves.
Q: Photography is often described as a universal language. How do you approach storytelling in your work, and how do you connect emotionally with your audience?
Photography is indeed a universal language, but it is the photographer who must know how to express himself through it and “make his pictures speak”. This is especially true in documentary photography, where the audience needs to see a story that evokes a reaction in them, be it joy or sadness. I usually try to tell strong stories or stories that allow me to convey messages of denunciation or revolt against the precarious conditions in which certain groups of people live or work. My projects always require a lot of planning in order to get close to the people and for them to see me as one of them. Because of this, there’s always a very strong emotional connection between me and the people I photograph, and maybe that’s why I’ve been able to convey to my audience, in some way, the emotions and feelings that I feel myself when I’m doing my projects. When I achieve this, I feel fulfilled as a photographer and as a person.
Q: If you could work on any photography project in the world, unrestricted by budget or location, what would it be and why?
I believe that photography has the power to change the world, so it would certainly be a project in Africa that could lead to support for children who are starving and don’t have access to education and the minimum conditions to develop not only physically but also culturally. Living in Angola has given me a deep understanding of the scourge of hunger and its impact on families, especially children. That’s why I’m so sensitive to this issue, and why I’ll never give up trying to find ways to change this situation through photography, even if it’s just a drop in the bucket.
Q: What’s next for you after this incredible achievement? Are there any upcoming projects or goals that you’re particularly excited about?
As I said, the work I submitted to BIFA is just one episode of the project that is still ongoing with this group of young people. I’m currently shooting underwater footage that adds an extra layer of drama to the story as it reveals a world that is incredibly hostile to humans, where darkness reigns and the risks are immeasurable. Given the scope and importance of this project, I would like to publish a book and hold some exhibitions about it. Meanwhile, and in parallel, I am planning another project about a group of particularly vulnerable people who are discriminated against in most African countries due to local prejudices and beliefs. I hope that this work will shed some light on their situation so that they can be supported and have a better life.
