Name: Nuno Vieira
Birthday: 12th September 1995
College: ESAP – Escola Superior Artistica do Porto
Book: “In Praise of Shadows” Jun’Ichiro Tanizaki
Movie: STAR WARS ALL DAY EVERYDAY (not the prequels)
Quote: WE CAN’T PAY YOU BUT THE EXPOSURE WILL BE HUGE!!!
For how long have been in photography? How did you start? I’ve been shooting for around 6 years now, since high school, until then I was really into drawing then I started getting bored of it because it was all so much easier to work with a camera, but I only started to get really into it when I started to get in the darkroom and really do things myself (and spend my money on the mistakes that I made, best way to learn btw). But I just graduated so we can say that the trip has only just started.
How would you define yourself as an artist? That guy in Porto that tries to make everything in film with really thight deadlines and is always looking for people in the street that could be his next model for a future project
Where do you find inspiration? Well, im a really geeky guy, im really into history and I research a lot, so a lot comes from that, old books and magazines. Recently I started to look at the Naruto Manga and it’s really interesting artwork there!! You should have a look!! The way that i get more inspired is when im talking with my friends and a weird story or scenario pops up that seems really stupid, then we think “WHO WOULD DO THAT?!?!?!?” well, most of the times, we, we end up doing it. That’s how “COMME DES PANTONES” (@commedespantones) for me, the epitome of a silly project, came to life.
Who has been the greatest inspiration in your life today?
My parents!!! They migrated so I could afford my studies, and teached me that nobody is waiting for me, if I want to get something done, I have to go and get it.
What for you is the most enjoyable part of your photography?
Shooting a really expensive dress on a beautiful girl that’s really really far from me and somehow getting that image published.
Is Brainstorming not the only creative method use to create new concepts?
No, I believe not, well, it’s one of the best methods, but not the only one. A process that we use is to create a character, and think about every element of his life, what would be his hobbies? His kinks, would he prefer taxis? or UBERS? would he think that Che Guevara was a hero or a terrorist? Would he like pineapple on his pizza? And his cereals? when would he put the milk? before or after?? most of the times it’s so twisted that we simplify it but it’s my favourite way to do things
Please could you tell us about photography and digital technology?
With the times going faster and faster I fell that is only right for me to slow it down, so I refuse to work with digital cameras, some clients don’t like it, but i think it’s important to choose the places that your work would fit better. For as long as I can, I won’t be shooting digital, but if the time comes, I’ll be here making it work, somehow.
What type of camera do you use most?
Mamiya RB67, it’s a medium format film camera, I bought it because it’s mechanical and makes you really think If you really want to make that image. I don’t own a digital camera, only my phone.
What is your favorite lens?
The one that’s mounted in it, I don’t like to own more than one lens per camera, at the moment its a 90 mm 3.8
What has been your most memorable assignment and why? The first number of Prinçipal Magazine, for a variety of reasons, it was my first comissioned editorial, it was printed (also my first printed editorial), it was made by people that I really admire the work (Miguel Flor and João Cruz) I got to work with Bernardo Cunha who I really like his styling, and it was a story that ended up being a cover, and I was able to control all of the process, the casting, the development of the film, the editing, and we really had fun while doing it. Is there anything better than fun and freedom?
What are your favourite three images you have shot recently? this first one (see attached number 1) given the need to be really accurate in tecnical terms, and because it was really hard to set um a huge camera in a tiny car. This second because the set was AMAZING, it was an old dying tank in a clothing factory in Portugal (see attached number 2)
the last one, was one of the only pictures I took the last time I went to visit my parents in France .
How important is an awesome website for your business? I think it is important but I believe social media is more immediate now, its the best greeting card at the moment, but the website can help you get the client on a more professional note, not that Im a great example on that, Im trying to guess what to do with that, but the most important at the end of the day is the quality of your work and the selection that you choose.
What’s the most important quality a photographer needs to have? You have to be true to yourself, you do you, references are great and so are your idols, but you have your own story and life that can be really interesting as it is, so just do that. After that, you have to stick to your guns, and not let go yout thing for a few bucks of a new client that wants you to copy a work for a guy that works next door. Im all for artistic integrity.
Which of your projects has given you the most satisfaction? I’ve recently started working with a really cool sneaker brand named VOLCA, together with Jonathan Silva Im in charge of the visual identity, the freedom of it its a huge challenge for me, but I really like it. The idea of being able to suggest a puppie for the star of a campaign really makes my nights of sleep easier, ITS NOT A MATTER OF IF, BUT A MATTER OF WHEN!!!!!!!
List of your clients? VOLCA, Agarponis Magazine, Prinçipal Magazine, Reality Studio, K L A R, Estelita Mendonça, to name a few
Who are the photographer’s you admire the most? Wolfgang Tillmans, Jamie Hawkesworth, David Sims, Colin Dodgson, Nigel Shafran and Seydou Keita
What about architects and designers? Stefano Pilati, Kiko Kostadinov, Raf Simons, Yohji Yamamoto, Rei Kawakubo and Dieter Rams!!
What are your next projects? Im thinking of making a book about Comme Des Pantones, start a new series of zines and a new series about postcards.
At the same time, Im working on a new installation for an exibition called “A ALGUNS PASSOS COMO SE ESTIVESSE MUITO LONGE” (at some steps like it’s really far) at one of the most important photography events in Portugal and continue the bright path that VOLCA has ahead of us and most importantly, Im working on a book called “GRENOBLE PARADIS” which will be a thank you card to Grenoble for welcoming my family and making all of this insane ride possible.
Define Klassik Magazine for the audience? very cool!