Photographers document the world in a striking exhibition at The Getty museum

The exhibition "Engaged Observers: Documentary Photography since the 60's" at The Getty Center (LA) is simply striking. Makes me wonder what am I doing here. Where's my backpack? I must see this world with my own eyes before I die -- and, of course, do something about it.

It's inexcusable not to visit the exhibition, if you are in LA, and take a peek especially at the Brazilian (yay!) Sebastião Salgado's "Migrations: Humanity in Transition" (2000):

Sebastião Salgado -- Orphanage at a hospital in Kibumba Number One camp (Zaire, 1994)

And at Philip Jones Griffiths' "Vietnam Inc." (1971), a critical account of America's armed intervention in Southeast Asia:

Philip Jones Griffiths -- Vietnam (1967)

 And, last but not least, at Mary Ellen Mark's "Life" (1983), about teenagers living on the streets in Seattle:

Mary Ellen Mark  -- "Rat" and Mike with a Gun, Seattle (1983)

MORE INFO: The Getty Center.

A little break for crisis, please | Pausa para uma rápida crise, por favor

(leia versão em português abaixo)

Today I was watching some films at class and suddenly I started to ask myself: "Am I ever gonna be that good?". I don't know. The more I learn, the more I see how much I need to learn yet. It seems so far from my reality. Unachievable.

Of course, now at least I can watch a film and identify how hard work it takes to do: story, actors, camera, lights, everything. I can actually see each one of these elements on screen. I'm not part of the ordinary audience anymore.

But Filmmaking it's not like studying Math. We can put all those ingredients together with the help of an amazing crew and it can still not work. There's an ultimate thing that makes a film good or bad. Something magical. A director has to be half maestro half wizard.

When everything works, there's this kind of fluidity on screen. I don't think anyone can teach me that. Either you get it or not. With practice, study and... talent.

Perhaps I'm complaining of not running as a pro when I'm just beginning to learn the first steps. Never mind.

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Hoje eu estava assistindo alguns filmes na aula e, de repente, eu comecei a me perguntar: "Será que algum dia eu vou ser boa assim?". Não sei. Quanto mais eu aprendo, mais eu vejo o quanto preciso aprender ainda. Parece tão distante da minha realidade. Inatingível.

Claro, agora pelo menos eu posso assistir a um filme e identificar o puta trabalho que dá pra fazer: história, atores, câmera, luzes, tudo. Eu consigo perceber cada um desses elementos na tela. Não faço mais parte da platéia comum.

Mas cinema não é como estudar matemática. A gente pode colocar todos os ingredientes com a ajuda de uma equipe maravilhosa e pode, mesmo assim, não funcionar. Há um não-sei-quê que faz um filme bom ou ruim. Algo mágico. Um diretor tem que ser meio maestro e meio bruxo.

Quando tudo funciona, há uma fluidez na tela. Ninugém pode ensinar isso. Ou você pega no ar ou não. Com prática, estudo e ... talento.

Talvez eu esteja reclamando de não ser corredora profissional quando estou apenas começando a aprender os primeiros passos. Desencana. Vou tentar fazer o mesmo.

Almost free (is it good?)

Today I've sent the last report to my major client. The end. I have to elaborate another one until Friday and that's it. Absolutely free to dedicate myself to L.A. project.

But when I realize that I feel butterflies on my stomach. Why? Isn't what I always dreamed all my life?

Why do we have this mixed feelings, like fear and joy, when something potencially great is coming? Sometimes is hard to believe this is really happening to me.

I started to tell everyone that I'm going to travel. Maybe as a kind of way to convince myself. And to be sure there's no turning back.

I've always been an untamed person, but this is by far the craziest thing I've done ever (more here and here). Yeah, yeah... Is the "mother" inside of me talking. Shut up! There's no room for you here anymore!