Although he has dedicated himself to law throughout his life, Diego Pastor has always been a lover of art. From a young age he was interested in cinema and photography. He could not dedicate himself to photographic art but it was clear to him that as soon as he retired he would make a living from it. “It has always been latent in my life,” confesses the author of one of the three best snapshots chosen from La Vanguardia’s Readers’ Photos for the month of April, with a view of the stands of the Monumental bullring. Barcelona, ??completely empty.
Now he goes everywhere with his camera and portrays the spontaneity and everyday life of people in the streets and squares. “Any capture of a gesture, a look… is important,” says the photographer.
What inspired you to capture the photo of the old Monumental bullring?
I wanted to make a photographic report of the current state of the old bullring. He agreed that I had many memories of the Monumental, since my father had been a bullfighting fan and took me to see them every Sunday when he was little. Returning there was an emotional and nostalgic reference point. What surprised me most was seeing the guts of the square. I couldn’t take photos because they wouldn’t let me, but everything was completely neglected.
What was the process of preparing that photograph? Were there any technical or creative challenges you faced during the shoot?
I didn’t have any technical problems when taking it. This photo is impressive, you put yourself in the shoes of the bull or the bullfighter and the sensation they must have felt before going out into the arena. The photo was initially not so black, but I increased the tone, because the world of bulls is a very black world. In my case I have never lost the sympathy and gratitude I have for bullfighting, although now I would not go to a bullfight.
Black reflects the bullfighter’s fear when entering the ring and also what bullfighting is today, a highly debated topic due to the mistreatment of animals. I understand it and when he was little I didn’t even realize it. I also wanted to go to find out why the Monumental was closed. I think it was more for political and nationalist reasons than for other things, because it is a very Spanish party, and it had no place here.
You have commented that you turned up the tone of black as a metaphor for the dark debate surrounding bullfighting. What other editing techniques did you use?
This photo has almost no editing. I raised the colors a little. Black can be a metaphor for many things in the photo. Everyone interprets it in their own way. And in the case of red, I raised the saturation very little. In the bullrings, red is the predominant color and in the Monumental it is still very well preserved.
The Monumental has not held bullfights for more than a decade. Now there are some shows, but there are parts of the arena that are abandoned. Why do you think this is so? What other uses would you give to the square?
It is very dilapidated because there has been no maintenance. There are still parts that are good because the Taurí Museum has its exhibition there and takes care of it. But a restoration is needed. And it must be destined for cultural use, such as a recreational or civic center for the district.
Bullfighting is currently subject to debate. What was people’s reaction when they saw your photo of the Monumental?
I received very strong comments. I understand that the bullfighter represents a rancid and black Spain. But I only took the photo because of the memory of when my father took me when I was little. What I do think, and this is also why I had negative comments, is that the Monumental was not closed properly.
For you, the photo conveys nostalgia for your father. But what do you think the viewer perceives when looking at the image?
I believe that everyone will interpret it in their own way, and there will be versions for everything. But I think it gives a sensation of being monumental, and never better said. Because of the structure of the plaza, which imposes on the view, and because of the sensation that the bullfighter felt when he saw the people in the stands.
The photograph must impact at first glance, transmit a strong feeling. And I think the photo of the Monumental does it. Also, for me the black of the door in the background gives a darker touch to the photo, because it is the view that the bullfighter had of the darkness from which the bull came out. A darkness in contrast to the sunlight that illuminates all the stands and the arena.
So how would you describe your photography style? Is there any distinctive element that you consider characteristic of your work?
Chiaroscuro. For me the light in an image is very important. I always look for something that surprises me, some element that is trivial. In photography, the framing causes us to capture only what we see in the shot and forget about everything that is around. It can be a scene that explains something or a person integrated into an urban landscape with a certain light. I move between aesthetics and photos of people that suggest a story. This is my goal in the portraits I make, I try to achieve it, but sometimes it is difficult for me.
Your photo of the Monumental was one of the three best photos of the La Vanguardia Readers of the month of April, what was your reaction when you received this recognition?
Very gratifying. For me, participating in this section of La Vanguardia’s Readers’ Photos is an honor. If I were born again, I would like to be a journalist. I’ve always dreamed of it.
So, how long have you known this section of the diary?
About 4 years ago. I started sending photos because a person I know told me that this section existed and she participated. I submitted an article about cinema in the Expert Readers section, but it didn’t catch on. Between one thing and another, you finally published a report for me. The good thing is that thanks to this section of La Vanguardia Readers’ Photos I fulfill two aspects that I am passionate about in life: photography and writing. The first article I remember was one about the La Foixarda de Montjuïc climbing wall or the Pedralbes monastery. I am very happy, it is an exemplary section that is not found in other newspapers. You make the reader have a lot of diffusion and prominence.
Apart from heritage photography, we have seen that you also like portraits of people. Are there other themes or genres that you are passionate about photographing?
Nature and wildlife photography does not attract my attention. I am attracted to everyday life and people’s lives. I would like to travel a lot and be able to go to countries like India and capture images of the local traditions where people devote themselves. For example, during Holy Week I was surprised to see such a passionate procession here in Barcelona. I would never have imagined that, being such a cosmopolitan city, this tradition would have so much attachment among people. I was used to the processions of Cartagena, which there are very devout, very passionate…
This year I took photos of the processions and edited them in black and white, looking for the faces, which speak for themselves, of those who carried the procession. I was looking for people’s emotional point of view. Photography sometimes sadly reflects very painful people’s themes. And I’m going to explain this. It is incongruous that you go to see a photo exhibition and pay more attention to the style of the photo than to the content, which is sometimes very brutal.
Once looking at a World Press Photo exhibition there was a guide with a group of schoolchildren and she asked one of the boys in the class about a photo that showed a mother suffering because her son had been injured by an explosion: “If you had If you had been the photographer, would you have taken the photo or left the camera and helped the mother? The boy responded convinced: “I would have helped her.” And the guide replied: “But if the photographer had not photographed the moment, it would not have been possible to make known what was happening there and document it.” Thus, photography has been an encyclopedia of human history since it appeared. It is and has been a faithful testimony of what is happening and has made it possible to make known all the events that have occurred throughout history.
And is there a photographer or artist who has inspired you to find your niche in photographic art?
I have two faces in my style of photography: the human one, of portraying life on the streets. And I am inspired by Francesc Català-Roca, Henri Cartier-Bresson… And then the most aesthetic side, which speaks of light, colors and shadows. And my favorite photographer here is without a doubt Saul Leiter. I always try to come up with a similar reproduction of what they did, but it is difficult, since they were geniuses. And even more so with the short experience I have. They are idols that help me improve my style.
You have mentioned before that you do a lot of black and white photography. What’s so special about it that the portrait doesn’t have in color?
Black and white photography is more intimate, timeless, deep and reflective. It is also the mirror of the darkest part of people. It is not you who decides whether an image should be black and white or color, but rather it is the photo itself that dictates it depending on what it wants to highlight or express.
How do you select places or subjects to photograph? Do you have any specific criteria or do you just let yourself be carried away by the inspiration of the moment?
If there is a fair or party, I go with the intention of preparing a report and collect photos of all the planes and angles I can of the celebration and the people. But, when I don’t have any purpose, I take the camera and go out to see what I can find. I look for social life: two people talking, gestures… I like capturing tourists around the Mercat de la Boqueria and Las Ramblas, because they are very spontaneous and extravagant. I always go down to the center of Barcelona, ??because it is where all the movement that I like to portray so much is found.
