I came across Luan’s work through social media, and it was such a nice surprise to discover a Brazilian photographer working between Brazil and the U.S. I have the algorithm to thank for that! I was immediately drawn to his colorful work and to Voyeur Magazine, which he created. So, to start our conversation, what inspired you to create this project?
I think the current moment we’re living in, especially when we talk about consumption, is a little complicated… even more so when it comes to the way we consume images and videos. I feel like almost everything today has become somewhat disposable, soulless, made to be consumed almost automatically. My father is a photographer and has always worked for magazines. I grew up around that and, from a very young age, I had this desire to create my own magazine. As time went by, I started to realize that it went beyond just something I wanted to do… it started to feel more like a necessity, or maybe even a purpose: to go against this current I mentioned before. At Voyeur; Mag, we try to build our own visual identity through our approach to photography, not only in the productions that involve photography itself, but also by creating a space that can contribute to the Brazilian photography scene. In that sense, we want to capture stories, projects, people, and different ways of seeing the world in our own way, something subtle, close, and not obvious. We try to create narratives that respect the time each story needs, whether through the length of a scene, the rhythm of the editing, or simply the way we choose to portray people and their projects.
I’m really interested in what you said about building your own visual identity through photography. Can you tell me a little more about what that looks like in practice? What are some of the visual choices you keep coming back to when creating the identity of Voyeur; Mag?
Photography is used in many different ways throughout the magazine. We have our own audiovisual productions, which are often accompanied by photographs. We also publish written features where we create a photographic essay with the guests to accompany their stories. Beyond that, we use the magazine as a space to share the photographs and work of other photographers, whether through interviews with them or through our monthly photo selections.
Focusing on you for a moment, how did you first get into photography? I don’t think we’ve actually talked about that before.
By a twist of fate, my father is a photographer and has always worked for magazines. I grew up watching him travel to different places to take photographs and, as a kid, I saw that almost like some kind of superhero life. I think that shaped my interest in photography from a very early age. Because of that, there were always cameras lying around the house, and my father always let me pick them up and play with them, even when I was really young.
So the photography genes really do run in the family! How does that influence your creative process?
I study a lot and I’m always trying to discover new references and understand them more deeply. I also really enjoy listening to people, and I think I get a lot from doing that… not necessarily people from photography or the art world, but just ordinary people. I like listening to what people have to say about life, their stories, and the different ways they see the world. That inspires me a lot and helps me understand what I want to do, create, photograph and, most importantly, what I want to communicate to people through my work. If there is anything you would like to discuss with us, please feel free to write it here.
I’d like to invite everyone to discover and follow Voyeur; Mag. We have different series, interviews, more documentary-based productions, and other projects, all created at a slower pace and with a more human feeling, I believe. The idea is to create a space where you can spend some time away from the speed at which we consume content today. A place to read, watch, observe things more calmly, and discover new people and work within culture and art.
I love that you find inspiration in everyday people and their stories. Are there any artists or photographers who have inspired you in a similar way?
Definitely! When it comes to photographers, some of my biggest inspirations are Mikiko Hara, Joel Meyerowitz, and Daniel Arnold. But beyond them, I believe my father taught me some of the most important things about photography. One of them is not to be afraid to photograph, and by that I mean not being afraid to click the shutter, no matter what it is… and also not being afraid of the world. Photographs are everywhere… in beautiful places, difficult places, close to home or very far away. You have to be willing to face and experience those places in order to create good work and, most importantly, an honest record of this world we live in.
What is it about shooting film that keeps you coming back to it?
I can say that it is definitely my life… over the past few years, there have been very few times when I’ve left the house without a camera. As I mentioned, I see myself as a worker of the city, of the world, of society… I feel I have a duty to document our world. But, of course, I still don’t make a living from that alone, so I’m also involved in other areas of photography, working with brands, artists, etc., but always with my photography.
Tell us about the equipment you use. Where did it come from?
Currently, I use the same equipment both for shooting on the streets and for commercial work. I have a Voigtländer Bessa R with a Canon LTM 35mm as my faithful companion… a large part of my work is made with this kit. I also shoot medium format with the big one… literally… the Fuji 690 I.
Have you discovered any film stocks that really surprised you? And do you have a favorite? Sure… some time ago, I took a trip across the U.S., and during that trip I used a few different films. Some Chinese ones, like Streetpan 120, really impressed me. I also had the chance to use some older films that I really liked, such as Fomapan 400. As for my favorite film, I have a somewhat cliché choice hahaha… Portra 800.
You mentioned wanting to take more control over the process yourself. How involved are you with developing and printing your photographs?
Little by little, I’ve been studying and getting more involved with the process. One of my goals is to take care of this entire process myself, ASAP, when it comes to my own photographs… leaving the development and scanning of my negatives completely in the hands of labs is something that has been bothering me. The consumption of photographic works here in Brazil is difficult, but I have some of my work for sale as photographic prints, and I really like the results. I’m also planning to produce my first photobook, where I’ll be able to bring some of my photographs into print as well.
I’m excited to see the photobook! Do you still shoot digital, especially for your commercial work? How do you see the difference between working digitally and shooting film?
Yes! For my personal work, almost never, but for commercial work, I still shoot digital… quite a lot. The difference is huge, like water and wine, and analog photography is definitely the wine… jokes aside, I see differences in every possible aspect… colors, light, sharpness, sensitivity, magnitude, power, timelessness. The only thing digital does better is practicality and speed of delivery. Not every brand, artist, or company trusts the quality that analog photography can deliver. Often, the market also demands a very short turnaround time that analog simply can’t meet. Most of the time, directors want to see the photos in real time on set and, unfortunately, or perhaps fortunately, analog cameras don’t support tethering cables.
Thank you, Luan, for being part of our conversation! To see more of his work, follow him on social media: @byluantanaka.