PHOTO CONFESSIONAL: Ernesto Costante
IF YOU WEREN’T A PHOTOGRAPHER, WHAT OTHER PROFESSION WOULD YOU PICK?
If I had been born with enough talent, I would have been an architect; otherwise, a bartender in Dublin.
WHAT HAS BEEN THE MOST CRUCIAL DECISION YOU HAVE MADE IN YOUR CAREER’s DEVELOPMENT?
Understanding that time is an important factor in the quality of your work, and that documentary projects require years to develop a clear concept, a perspective beyond the surface of things. Divorcing myself from immediacy changed everything.
HOW IMPORTANT IS RESEARCH IN YOUR WORK?
It’s the backbone of my work. I strive to explore the social circumstances, journalistic work, statistics, and the sociocultural impacts of the project I’m about to tackle. I talk extensively with the people involved to understand how I can create a coherent narrative between what I see and what I’ve researched; if there’s no connection between the two, I’ll later realize that I’m not on the right path.
IS THERE A PHOTOGRAPHER/ARTIST WHO IS A CONSTANT REFERENCE FOR YOU?
Robert Frank in photography has always been my reference because He transformed the approach to telling a documentary story. However, I try to draw inspiration from other artistic expressions to complement my visual repertoire. In painting, Caravaggio and Edward Hopper; in cinema, Italian neorealism has been a fundamental influence for me; and in literature, where I feel that all possible visual references can be found, writers such as Raymond Carver, Chejov, and Paul Auster, among others.
WHAT WOULD YOU NOT WANT TO PHOTOGRAPH?
Product photography doesn’t interest me, because I’ve always needed the soul of others to feel the urge to pick up the camera. I would also never use any type of artificial light; the interplay of natural light and its shadows is the fundamental element in what they reflect through my lens.
WHAT EQUIPMENT DO YOU USE, AND WHAT IMPORTANCE DO YOU GIVE TO TECHNIQUE?
I work with two Leicas, an analog M6 and a digital M240. Three lenses: 28, 35, and 50. These cameras are unobtrusive and quiet, without any distracting technical gadgets; the rangefinder lets me see beyond the 35 millimeters, providing a powerful tool for quick and clear composition. It is photography in its purest form. I also use many plastic and disposable cameras lately; I believe they work very well for experimenting with a different approach that embraces their lack of quality. I have fallen in love with the purity of imperfection. Regarding technique, I believe it is essential to master it perfectly; only then can we challenge it, deconstruct it, and, from that coherent rupture, create our own language as long as there is a reason. I think the best allegory is Picasso: he knew how to draw perfectly using all the technical concepts, and then he invented Cubism. His challenge wasn’t to paint based on technique but on concept.
WHAT IS THE STARTING POINT OF YOUR CREATIVE PROCESS?
Feeling motivated by an event that captivates my attention. If I feel that it hits me, that it moves me, that it paralyzes my heart and raises questions, I start working.
HOW DO YOU DEFINE YOUR PHOTOGRAPHY WITH a #tag
#DocumentaryPhotography #FilmIsNotDead
at what point did you feel you were a photographer, and what made you think that way?
In 1996, at Roberto Mata’s photography school, the first time I saw an image of myself appear in a chemical developer in the darkroom, no one came out unscathed from that magic. Months later, when photographer Andrés Leighton showed me what it meant to be a documentary photographer, I understood what he meant. Both events defined who I am today.
HOW DO YOU DEAL WITH REJECTION?
I understand it as part of the craft; not everyone wants to be seen as they truly are, and that should be respected. But rejection is not always final, it takes time to earn people’s trust, and a “no” can often later become an unconditional “yes.” That’s where the best images are born.
HOW DO YOU THINK YOU HAVE ACCOMPLISHED SUCH SUCCESS?
I think the word “success” is somewhat pretentious because it is not measurable. For me, success isn’t so much about recognition as it is about the honesty with which you’ve done your work and the way you’ve treated your subjects. That silent complicity ends up being an alchemy. The success of a documentary photographer is a co-authorship; without the people who have allowed you to portray their lives, the camera and the eye are just empty spaces.
HOW DO YOU APPROACH STRANGERS IN YOUR PROJECTS OR TO INCLUDE IN YOUR PROJECTS?
I try to talk a lot with them before even thinking of taking out my camera. I show them the things I do, ask them about their lives, and try to create an atmosphere of trust so that they don’t feel compromised. The two pillars of documentary photography are access and trust; without them, there’s no way to establish an honest visual dialogue.
IS IT COMMON FOR YOU TO QUESTION YOURSELF OR YOUR PHOTOGRAPHY?
I constantly ask myself if I’m on the right path if what I saw, felt, and what my other senses perceived are captured in the images. If the answer isn’t clear, I seek help from other photographers to review my work and advise me. I believe that questioning what you do is a way to let go of any personal ego. Narcissism is the worst enemy of any creative act.
how is to approach to the art world/ photo-book world?
Photography books have always been an obsession for me; they are a playful exchange of paper and ink, and the effort behind each publication is enormous. Every photographer who manages to publish is a triumph, not only for themselves but for the world of photography. Publishing a book leaves a very intimate testimony, a visual diary that becomes public about what the photographer experienced. A book is a summit, a personal Everest.
WHAT WOULD YOU SAY TO A NEW PHOTOGRAPHER WHO IS JUST STARTING OUT?
Never stop being amazed. Seek something that ignites your passion and gives you the urge to tell that story. Do not lose sight of your purpose. It’s not about the final result, but the journey—a journey that is often long, complicated, deep, and personal. Learn to deal with failure because it is part of the life we have chosen. Any success that follows is merely the result of work, talent, and luck. To be a photographer, you only need some light, a lot of vulnerability, and a comfortable pair of shoes.
ABOUT Ernesto Costante
He has worked as a freelance photographer for several prominent newspapers, including El Nacional, El Universal, and Últimas Noticias, as well as for magazines such as Producto, Feriado, RSE, and Le Monde, and the international news agency Wostok Press. His expertise lies in documentary photography focused on social issues, particularly concerning children's health. In 2010, he collaborated with photographer Gabriel Osorio to launch the documentary photography exhibition "Una vida posible" at Sala Mendoza, supported by Fundahígado and Carolina Herrera. Fast forward to 2023, he debuted his first solo exhibition in Caracas, showcasing his documentary project titled "Black." The following year, he released his book "BLACK" in Madrid at La Fábrica bookstore, which gained recognition by being featured in RM publishing's catalog and included in the collections of the Reina Sofía Museum and the MoMA library. Beyond his photographic work, Costante has dedicated over fifteen years to teaching photography in various schools. He currently serves as the deputy director of the Roberto Mata Photography Workshop at their Caracas campus.
