PhotoArtMag came across beautiful film photography of Xiomara Marques from Portugal and decided to feature some of her work. Xiomara is relatively a newcomer in the world of photography and she began shooting in 2013 to fulfil a need to register pleasing and amusing things around. She has progressed quite well in a short span of time and her work is being noticed by editors and agencies. We especially liked her images of landscapes and interior for their freshness and tonal qualities. Our Q&A with Xiomara:
Please tell us about yourself:
Actually I don’t really like to talk about myself! In short, I am Portuguese, living in Oporto. I studied art and have been working with photography over the last 2 years.
About 2 years ago, the company where I was working at closed and I decided that this was the time to dream big and start doing something that I really liked. I took two photography courses, read a lot, and didn’t stop shooting until I had some experience, at first with a digital camera, and then with film.
I have always liked to travel and for this reason I feel more comfortable with architectural / interior / landscape photography, but it’s really hard to stay away from portrait photography, it’s special, because the person becomes our world.
What is your method of shooting outside? Do you work on a planned or spontaneous way?
I am way too spontaneous to be able to plan my shoots, what I do know is the exact spot I want to photograph.
My equipment is quite simple. I have two film cameras, (one small format and one medium format Mamiya 645) and also a digital one. Now that I am shooting for DECOR magazines I need some studio equipment to have better results, but for now I can’t afford it 😉 I believe that it isn’t the equipment that makes the difference, but your eyes and the way you face the mistakes.
Over time I prefer shooting with film instead of digital, mostly because I want to keep the image or moment just as it existed, the more legitimate as possible, as you see, editing (for me) means just a few adjustments. Film allows you to learn with your mistakes, instead of fixing up by editing and manipulation. Learning and adapting is what makes this kind of photography the most special of all.
When you shoot on film there’s always an uncertainty, sometimes I travel long distances for nothing, because there is a higher risk of something going wrong when using film rather than when using digital. Another aspect that is really challenging, is the cost of film photography, it is expensive. What’s most important is that if you really like keeping memories this way, you should never give up.
With the global access to information that we have now, it’s easier to follow and connect with the world of art and creation, to absorb and show everything we do. Now the world turns too fast and sometimes we can’t appreciate something as we should. The world has become a place with too many fast images that people need to publish online all the time. Now it is more important “to seem rather than to be”. But in general, I have a good perspective of what is done within the art of photography, there are more and more talented people doing so well.
Almost all my clients are from deco, food shops and magazines.
What are your future plans/projects, ambitions, inspirations etc.?
I have always dreamt about making different kinds of images, more artistic and with narrative. It’s very hard to stage moments and situations, but I will work on that!
The last movie I saw was precisely about photography and I strongly recommend it, “A Thousand Times Goodnight” by Erik Poppe. I like the work of many photographers, but it is the work of Anne Moller that deeply touches me….
Something to say to our readers or aspiring photographers:
The most important aspect of becoming a good photographer is being the most genuine as possible and enjoy all parts of the process!