Ricardo Labougle: “Don't take so many selfies. Make the most of the place”
Photography is an art and as such, it allows the expression of ideas, emotions, and viewpoints. When we contemplate an artistic photo, we might see a place, an object, perhaps a person; but if we look further, we will discover that something is hidden: the soul of that image.
The Argentine photographer based in London, Ricardo Labougle, is precisely one of those 'soul hunters', capable of capturing the true essence of each setting with his lens and conveying it through the impeccable use of light. After sharing tea and conversation with him in the library of Seventy Barcelona, the new guest house by Núñez i Navarro, it's our turn to discover what he holds inside.
“I am a photographer of natural and spatial light”, is how he defines himself right from the start. “I like to bring places to life through light and angles. I try to animate objects that are mostly inanimate. I walk around the place, look for the angle I like the most, and start with what attracts me the most. From there I continue, like when you meet a person”. Indeed, Labougle is able to capture, with naturalness and great subtlety, the soul of whatever is placed in front of his lens.
During the conversation, he reveals that his passion for photography has been with him since he was eight years old. Therefore, even though he started his professional career as an economist, he never imagined himself confined to an office, so his artistic curiosity prevailed and he ended up making his hobby his way of life.
“Siempre me gustó lo visual. Soy muy tímido y me costaba hablar y relacionarme. Era muy observador y me gustaba mirar, especialmente la naturaleza y el mar. ¡Sigo mirando!” Y añade: “Además, mi madre se cambiaba de casa con frecuencia. Eran las mudanzas de Ana Massini. Sus casas eran como showrooms y recibíamos la visita de fotógrafos habitualmente”, indica como un hito en su vida. “A mí me gustaba verlos trabajar, pero yo era pequeño. Y aunque ella no me alentó, acabé haciendo estas fotos”.
Su primer trabajo fue para la revista Marie Claire Maison en la que comenzó realizando retratos que él mismo revelaba en blanco y negro. “Aquí fue dónde conocí a Annie Leibovitz. Me encargaron retratarla en Madrid, siendo muy joven. Ella ya era una reconocida fotógrafa. Pasé una tarde con ella en El Retiro. Me dijo que mis fotos eran las más originales que le habían hecho. Y me animó a seguir. <<Cuando vengas a Nueva York me llamas>> me dijo al despedirnos. Aún no lo he hecho, tal vez lo haga ahora. Acabamos coincidiendo en el September Issue de Vogue US”.
Since then, he has traveled the world photographing design and architecture for the most important publications and has written books on decoration and interior design. His work has been exhibited in galleries (Slowtrack Madrid) and at art fairs such as Arco, ArteBA, and Buenos Aires Photo.
Ricardo Labougle captura instantes, un don que le ha acompañado siempre y que él prefiere definir como “una forma mía de mirar”. Sin duda, una mirada que le permite inmortalizar instantes de objetos y lugares que hablan por sí solos y que son capaces de llamar su atención: “En un mismo escenario hay objetos que inspiran y otros que no. Para fotografiar, el espacio ha de ser fotogénico, aunque estéticamente sea feo. A mí me puede no gustar, pero al poner la cámara, ajustar el objetivo… a veces por armonía, por gama de colores, formas extrañas… me capta”.
He prefers nature as a source of inspiration for his photographs, where he feels most like himself, yet he considers himself “very urban” for living. And regarding the creative process he follows before taking a picture, he makes it very clear that he is not a man of method. He likes to improvise, to make, to undo, and to start over if necessary, always in pursuit of the ideal light that ensures a harmonious whole: “The overall scene captures me, especially the light. I try to make sure each photo has the best possible light. I can leave a space and then come back to it, it may not seem like an orderly process, but the result is better. I wouldn't feel like I've done my job well if my photos turned out to be 'clinical'”.
Because for him each photograph is different, unique, and unrepeatable, and that's why his work always adapts to each situation and setting: “Every photograph has different details. In architecture, light is very important; for portraits, it's good to have a one-on-one with the person. Sometimes in productions, the magic breaks and you have to ask everyone to leave”.
Even though on his recent visits to Barcelona he has had to settle for the views from taxi windows, he tells us that he loves the city. And about the place we have chosen to chat, at Seventy Barcelona, he says that “the volumes, the book installation, and the quality have really surprised me. Despite its 'formality,' it is not stiff; it has 'classicism' but is not old; sobriety of lines, yet at the same time, it is very playful. It plays with textures, colors, and volumes, but with great quality. Nowadays, classicism tends to 'pastiche' and modernity can be excessively 'minimalist'”, quite a compliment coming from an expert who scrutinizes every place he visits with a meticulous eye.
And take the opportunity to give advice aimed at all those who join the trend of photographing with their mobile phones the different spaces of the hotel: “Don't take so many selfies. Seventy is one of the elements of the photo, it can be the styling. Take advantage of the place.He is very clear, traditional photography is not at odds with the use of smartphones: “I find using the mobile very practical, it helps me compose. And it has great quality. It will never be a threat to photographers”.
For this year, she tells us that she has many projects in mind, among them writing a book about the secret Buenos Aires, in which she wants to reveal the unknown interiors of her hometown. And who knows, maybe, finally make that pending call to Annie Leibovitz.
