Interview with Ludmilla Morais

I am very pleased with this interview. I knew Ludmilla Morais in Los Angeles when we both took part in the show You Are Here, where she was also one of judges. Solar energy by Ludmilla, all the positivity of its Brazilian origin has remained unchanged.
Then, we have shared together Ludmilla this wonderful experience called YOU ARE HERE. Would you like to say a few words for this show which was held in Los Angeles in October?

 You Are Here was indeed a wonderful experience. It was an honor to
judge such an amazing competition.

I have to confess that in the beginning I was a bit skeptical. Having
30 plus photographers confined to one single block seemed to be a bit
crazy. However, at the end of the day it was an incredible surprise to
see the great work of so many talented people.

Think Tank Gallery and Leica did an amazing job planning the show and
generously lending Leica M9s to the judges. The competition winner was
awarded with a Leica D-Lux.


Can you tell us a bit more about your personal story with street photography?


Street photography entered my life my chance. I used to shoot a
lot of puppies, kittens, flowers and myself.

Let me tell you the story: my first camera was gift given to me back
in 2005. I still have the camera, a tiny Kodak Easyshare. I simply
adored the little thing and took it with me everywhere I went. I was
so happy and amazed by the instant gratification provided by digital
cameras that I photographed everything I saw. One day, I turned the
camera on myself and started making self-portraits. Not long after I
discovered an online photo sharing spot called fotolog where I made
friends who, like me, were obsessed with their self-images. Fotolog
eventually became unfulfilling and a friend from there introduced me
to flickr. A few months in, I had a hoard of followers, and one of
them was a Sicilian man who eventually introduced me to street
photography. I gladly gave up the sexy shots of myself, and the rest
is history.

In many of your pictures and projects emerges irrepressibly a conceptual complexity of a large fine art work. I remember a comment from a user of your flickr photostream (I think it was in a portfolio reading on HCSP group) which made some effort to frame your proposals as street photography. What is street photography for Ludmilla Morais? It is also very important to label a photo as a street? At the end is not only important to talk about photography?

I am not quite sure that the word “framing” would be a good
description. In my head, the definition of street photography is quite
broad, and a lot of times it lingers on the borders of fine art and
photojournalism. Therefore, applying labels becomes unnecessary and
somewhat foolish.

It is my belief that talking about photography is quite necessary;
I’ve formed quite strong bonds with people through it, by expressing
my opinions and curiosities. Talking about photography is surely as
important as making photographs.

When we met you told me you use only the analog for black and white. Do you want to explain to our readers the reasons for this your choice?

I don’t use analog exclusively for black and white. In reality, I
went backwards: my first two cameras were digital. The day I
discovered film, I fell in love with it, and started making
photographs exclusively with it. Nowadays, I used both -- and the
choice lies solely in how full or empty my pockets are. That being
said, I find it necessary to emphasize that I would rather avoid
comparisons between film and digital. Both are excellent, and in the
end what matters are the results, not necessarily the chosen medium,
format or camera.

You were born in Brazil. What remains in you of this country? And how much you believe that Los Angeles is important for Ludmilla Morais as a photographer?

Brazilians have this unprecedented ability to move on, no matter
how dreadful the situation. We receive the good and the bad with a
smile, and when asked how things are, we always say, “tudo bem”; I
still carry this attitude and I believe that I am still quite a
Brazilian.

When I first came to Los Angeles I hated the city. After a while,
though, it grew on me and today I love it. Los Angeles is very
important to me, not only in regards to my photography; Los Angeles is
home.

You are one of the brains behind the editorial project called Reverb Street Magazine, linked to the HCSP flickr group. Great essays on street photography, a real showcase for street photographers from all over the world. But there is a danger to bring a certain aesthetic and only that? In short, you could create the risk of homologation in a photographic genre as street photography?
 
Street Reverb Magazine is an amazing project, and I am proud to be
a part of it. However, the real brains behind it are James Dodd and
Bryan Formhals. It is with regret that I confess that my contributions
to the magazine have been small; however, I do have plans to be more
dedicated and active.

I am not quite sure I understood your question in regards to
aesthetics; I believe that Street Reverb does a fine job divulging and
informing street photographers, or the likes; and from where I stand
I don't see how SR would be at risk of homologation,
we are far from dictacting rules or imposing
a one way idea, on that I find important to mention that
Street Reverb is not a "how to" magazine.

What are your thoughts on the revolution of mirrorless cameras? And for you which will be the future evolution of this market segment?

I find mirrorless cameras incredible. I own one and simply love
it. I am not in position to speculate on their future. Anyone with the
funds to purchase a high end digital camera is a photographer these
days.

Who are the photographers that you esteem more? Would you like to make a name that usually no one does?

I have a super long list of famous photographers and another
exorbitant list of unknown and extremely talented ones. I am a sucker
for the works of Helen Levitt, Daido Moriyama, Tierney Gearon, Larry
Sultan, Raghubir Singh, Mitch Epstein, Bruce Davidson, and whole lot
of others. I also have a profound admiration for the works of Raoul
Gatepin, James Dodd, Justin Vogel, Jared Iorio, Rebecca Smeyne, Jack
Simon and the old works of Grant Lamos IV.

What is more important to you: the story behind your images or the image itself?

Is it possible to separate them? I had no idea!

Is there anything else you would like to mention that I missed?

That is enough for now; after all, you do want people to read
this interview, don’t you? Thank you for the opportunity, and I am
looking forward to seeing you again on your next visit to LA.

For sure, Ludmilla!!!

Now her site is under construction for updates but this is the link:
http://ludmillamorais.com/

All images courtesy of Ludmilla Morais