Brazilian photographer, Luiz Braga, has long brought his sensitive eye and respect for Brazil's Caboclo culture to his work. His images complete a photographic diary of everyday life for those living in Brazil's Amazonian region. His photography invites us to share the strain, pride, hope, and dignity of the region's people. Unsatisfied with capturing merely a frame in time, Luiz employs swaths of color and shadow, fashioning his photgraphs into long gazes upon their subjects. It is precisely this control of light that has helped elevate Luiz to the forefront of Latin American photographers. Luiz has won several awards, including the Leopold Godowsky, Jr. Color Photography Award from the University of Boston. Luiz is currently representing Brazil at the Venice Biennale.

Kismot: Before becoming a photographer, you studied to become an architect. How has your background in architecture influenced your photography?

Luiz Braga: Actually, I entered architecture school because there was no visual art school over here and I did not want to move south (Rio or São Paulo) as so many others did. I decided to stay. I took all the disciplines, but some were so painful to finish (electric systems, hydraulics, etc). Others, like Art History, Asthetics, Drawing, and Design were an opportunity to improve my knowledge.

Particularly, I used to come and go to school by a road named Estrada Nova, which was a colorful region with boats, bars, and small restaurants that made me discover the color of Caboclo. It was the 1980's. I have lots of picture taken on this side of Belém, my hometown. I can say that this region is where my style was born. Unfortunately, today it is a very dangerous place to work.

 
K:  Do you recall the first photo you took that made you want to become a photographer?

L: There is no special picture. There are some moments of discovery –pictures that pointed avenues that I came across and directed my work. Some are in black and white and others in color.

K: Elements of Caboclo culture in the Amazonian region of Brazil is often the central subject in your photography. Why is this subject important to you?

L: I was born and raised in Belém, surrounded by that culture. As I grew up, a mix of Indian, Portuguese and African elements made up my cultural references and influenced my work. But this was made naturally. I use to say that the Amazon that appears in my pictures is a very private territory built of layers of color, life, scents, and ancient feelings.

K: Your expert use of natural and artificial light in your photographs recalls techniques used by some impressionistic painters. How do other art forms influence your art?

L: When I was very young my father, who is very interested in arts, used to buy books of painters including Renoir, Van Gogh, Degas and others. As I grew up I used to watch movies by Fellini, Antonioni, and Bergman. Actually, I was already a photographer before I learned of the photography made by masters such as Cartier-Bresson, Eugene Smith and others. So, painting has truly been an influence on my photography.

K: Do you have a favorite photograph from another photographer?

L: I especially love the work of Edward Hopper, who is not a photographer. I also very much like the work of Joel Meyerowitz and Robert Frank.